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TBE
BEAUTIES OF MELODY;
A COLLXCTION OF TBS MOST POFULAK
AIRS, DUETS, GLEES, &c.
OF THB
MOST ESTEEMED AUTHORS, ANCIENT AND MODERN:
COMPRISING
THOSE OP ARNE, HANDEL, HAYDN, MOZART, WINTER, WEBER, BISHOP,%c.
ALSO A
SBI.SCTION or THB SBST AND MOST APPROYBS
IRISH MELODIES;
WITH
APPROPRIATE WORDS, WRITTEN EXPRESSLY FOR THEM i
THB
SYMPHONIES AND ACCOMPANIMENTS ENTIRELY NEW,
AKO COMPOSBD FOR THIS WORK.
INTERSPERSED WITH MANY OF THB BEAUTIFUL
SCOTCH MELODIES,
SINGING AT THB TBBATRBS, CONCXBTS, &C.
ARRANGED FOR THE VOICE,
WITH
AN ACCOMPANIMSNT FOR THB PIANO-FORTE, *< .
TO WHICB IS PRBFIXBD,
OBSERVATIONS AND INSTRUCTIONS ON MUSIC, PARTICULARLY
VOCAL AND ACCOMPANIMENT.
TBB WMOLB COMPILBD, COMPOSED, SBLBCTBD, AND ARRANOBD, BT
W. H. PLUMSTEAD,
OF THB THBATRE ROVAL, DRURT-LANB.
^ ^oIo«
XaONDON;
PRtNTBD AND SOLD BT
DEAN AND MUNDAY, THREADNEEDLE-STREET.
FRICB 7S. 6d. BOARDS
tiil
TO
JOHN BRAHAM, Esq.
AS
THE FIRST SINGER OF THE DAY,
WHOSE POWERS HAVE STOOD THE TEST OF MANY YEARS.
AND STILL REMAIN UNRIVALLED,
AND TO WHOM
MANY OF THE PIECES IN THE PRESENT COLLECTION
OWE THEIR POPULARITY,
THIS WORK
IS RESPECTFULLY DEDICATED.
Digitized by the Internet Archive
in 2007 with funding from
IVIicrosoft Corporation
>y/ a?
http://www.archive.org/details/beautiesofmelodyOOplumiala
OBSERVATIONS
Musia
PARTICULARLY VOCAL AND ACCOMPANIMENT.
Music has always ranked high among the Sciences, but has
attained an eminence in the present day, far above any other^
As nations have been civilized, so has music been cultivated.
Always making a great impression on the feelings, either by rais-
ing sublime inspirations, or exciting strong and animating 8enr>
sations, it was used in the early ages, as well for religious, as
political purposes ; but now it is more subserviant to our domestic
habits, forming at once a delightful and innocent recreation. Yet
it is still capable of rousing the energies of the soul, both in
adoration to the Diety, and in exciting and allaying the most
varied passions. The one may be exemplified in the works of
Handel, Haydn, Mozart, and many others: who, for instance,
can hear the sublime Oratorios of "The Messiah," "The Creation,"
and '* The Requiem," and not feel elevated by the solemn harmo-
nious sounds, uttered with the most beautiful sentiments? The
other, our national airs will testify; and, indeed, the original
melodies of any country, (particularly those of Scotland and
Ireland), produce the utmost enthusiasm on the hearers; — they
will either melt the heart to pity and love, or inspire it with the
noblest sensations. " The spirit-stirring drum, the ear-piercing
fife," and even "the squeaking bagpipes," are instruments capable-
of rousing the most supine. Who can behold the march of a
VI OBSERVATIONS ON MUSIC.
regiment, and hear its martial rnusic, without feeling his blood
thrill within him, and all his faculties alive to its invigorating
sounds ? <i Va O i X A "
But it is in the domestic circle that music gives the greatest
plesisure, and where we derive the most advantage from it. It
connects families, by affording within themselves a charming
source of amusement for leisure hours, which othenvise, perhaps,
in the one sex, might be spent in pernicious pursuits : and, were it
merely on this consideration, music ought to be introduced, for
whenever social enjoyment can be found at home, it will not be
sought elsewhere.
To attain a proficiency in any science, a firm foundation ought
to be formed ; and as none require it more than music, it is neces-
sary to understand its principles before we can expect to profit by
our exertions ; these can only be developed by slow and almost
imperceptible degrees; for whoever imagines to make a progress
by a short cut, will find himself miserably deceived ; it is by la-
bour, patience, and perseverance alone, that we can gain the end ;
and by attacking the difficulties at the onset, the path, as we
proceed, becomes clear and pleasant. In no one pursuit does a
master toil under so many disadvantages, as a teacher of music,
who is obliged to connive at what he knows can be of no solid
advantage to his papih Py an injudicious anxiety on the part of
the scholar's friends to hear a song, when it is understood he is
receiving instruction, induces him to be impatient, till he is en-
abled to gratify them; and the time that ought to have been
devoted to the cultivation of the voice, and improvement in the
science, is taken up in practising a song, that he may exhibit
his astonishing powers, when, perhaps, the preparatory rudiments
have not been learned. Having commenced song singing, the pu-
pil finds it irksome to return to the *' mere nonsense," as it is
■ceilled, of do, re; and after possessing a sort of half-and-half
OBSEJIVATIONS ON MUSIC.
tU
smattering', he finds out, at last, he has begun at the wrong end*
and gives it up in despair. This is an every-day occurrence;
and we hope to convince our readers that, however tiresome the
following instructions may be at first, yet, by a steady persever-
ance, the difficulties will be overcome, and they will reap the \
benefit of their exertions. *
The requisites for singing are, a clear voice, powerful lungs,
and a good ear. A bad voice may be improved by judicious
cultivation, and the power of the lungs may be increased by
practice; but a correct ear is indispensibly necessary. The
first attempt mast be to ascertain the compass of the natural
voice, and then to form a clear firm tone within its bounds.
We reconmiend the following scale, the notes of which lie
within the compass of most voices, whether male or female ; but
should it be found too high for some, practice only as far as it
can be sung with ease.
Pia. cr >. for. dim. pia.
1
w
"Ty-
re
Do
fa
sol
la
P
zd:
si do re
fa sol.
i
m
22:
i
OBSERVATIONS ON Ml'SIC.
321
m
sol
la
-e-
re
do
'O
i
la
sol
fa
:«a:
rni
re
-e-
do.
i
Jiivi ( '>l<ikirj» I'i
■nmn v^u;').!,'
The manner of singing this is, to sound the beginning of each
note very soft, gradually increasing it to the full power of the
voice, (without straining it), and then equally decreasing it to
the same degree of softness on which it was commenced. A
plentiful supply of breath should be inhaled, and husbanded up,
that it esjcape by degrees, and sufficient be preserved to finish
the note firmly. In swelling out the notes, care must be taken
not to sing too sharp; and in decreasing, not to get too flat. An
instrument is the best guide, till the voice becomes inured by
practice to sustain itself. The tone must come from the chest,
without any impediment from the throat, teeth, or nose; fhough
•they all assist the tone, by the perfection of their formation,
jet, by improperly closing the two former, or emitting the sound
through the latter, a disagreeable sound will be uttered. The
formation of the mouth is another essential point to be attended
to, without which the pupil can never give a true utterance to his
words, besides injuring his tone by obstructing the free emission
of it from the lungs. In sounding the first syllable, do the
OBSP.RVATIONS ON MUSIO
i*
mouth must be opened in an oval form, and kept in that position
till it is finished. The next, re, (pronounced ra), the mouth is
formed lengthwise, and rather open. The next, mi, {me), the
mouth is nearly closed. The next, fa, {faa), is the most open
of the whole, the mouth to be as open as possible without
distorting the countenance. Sol, {sole), is somewhat similar to
cfo, except that the mouth is formed rounder. La, {lad), is like
/a, the mouth a little more lengthwise. The last, si, {se), is
nearly the same as mi. When the mouth is opened for the pro-
nunciation of any syllable, keep it in that position till the note
is ended, as the least variation in the form of the mouth will
^^duce another syllable. *
When a firm clear tone is established, the pupil may proceed
to cultivate his voice for the execution of divisions, turns, graces,
shakes, &c.; all of which, precision and neatness constituting
their greatest beauty, require indefatigable practice. The fol-
lowing are to be sung very slow at first, and increased by degrees. /
— -^- Exercise on Thirds.
Do re mi rai re do, re &c. fa &c. mi
fa
m
E
sol la
m
g
Si do re
OBSERVATIONS ON MUSIC.
X,'
y^^^^
do
o -
si
la
so
1
fa
' V
-^
n
.1.
■^
. w
i^<^
1 — -
, , ...
.._—
Observe that the accent or stress of the voice is laid on the
first note of every three. They may sing as above, one syl-
lable to each note; but when the voice is capable of performing
them quicker, one syllable to each three need only be used;
thus,
Do
^5^&^
re - - &c.
— Y— *~
In the following, the accent is laid oh the flrst and third note,
but more particularly on the first; though each note must be'
OBSERVATIONS ON MUSIC.
sung even, the slight stress being to denominate the time, and
prevent them from being equivocal.
Exercise in Fourths.
m
fc Jjij^SEM^^ JTTji
Do re, &c. re
mi
ffi
i
^SS
1
re
re do.
m
§
— e
L^
■ - -^
i — :: — j —
-^— ^—
xn
OBSERVATIONS ON MUSIC.
*frr
^^W%^^
re
f^
4
do
■#4 i^» '^i jjj«' ■
si la
a 1 1 1 . 1 , 1 - ^ ' A
J
-V-
-f-
— •-
■~l"
"1"
.. >
1"
— #—
— •—
^T""
OBSERVATIONS ON MUSIC.
xni
lY-rr
f=f=R=F^
Hhrit-H=f=P
P P-
mi
re
d
0
' V
1^
1^
t
»!•
p
»
»
^
'
•^
_—_
»
LJ
_
^
9 4
^
"• — •-
i
OBSERVATIONS ON MUSIC.
Exercise in Sixths.
fa soi la
.^^
H- P r
Ifpg&ggg
i
SI
do
re do.
i
dzzzf:
D:,I r P r
OBSERVATIONS ON MUSIC.
Exercise in Sevenths.
i«r
• 4 r
f=— F--^
-i — p-
# F F
:tr r rr
i
frr
§
i
OBSBRVATIONS ON MUSIC.
f\ . ■ :■ :•_ 1 '" . m . . . ■". „
■'•■'■ "••r r r
da — """ •""''s j'^r- ,_," ?i I~-_-
la re do.
^
^
« F-
Exercise in Octaves.
OBSERVATIONS ON MUSIC.
ȴ1K
^iir-CQf%^^
sol
la
^V ' —
• ^* I p! ■ P ■ [- -1
i
I r ■ I f=^
m
^
^
»-y I r ■
si do.
S
m
m
(
OBSERVATIONS ON MUSIC.
The shake may next be attempted, which requires the most,
arduous and constant practice of the whole. It is the quick re-
petition of two notes, either at the distance of a tone or half-
tone. There are some who possess a sort of shake naturally ; but
that which is cultivated is most perfect; the former being merely
a tremulous motion in the throat, and frequently, only one note
gutterally uttered. The best method of attaining the shake, is to
begin very slow, and practice till the voice becomes flexible
enough to execute the two notes clear and firm without effort; it •
may then be practised a little quicker; and so On by degrees, till
perfect. It should be begun soft, gradually swelled, and demi-
nished again to its original softness. It must be practised on
every note within the compass of the voice, and ort each of the
seven syllables. The shake is generally finished with a turn,
which should be practised wiih it : thus, '"^r^^Ta^fV"^
Minor, or Imlf-tone Shake,
^^^
1^3
(
OBSERVATIONS ON MUSIC.
XIX
MaJ.
Min. Maj.
Maj.
Min.
jhit-7 II Hl—F^^
sol la SI do re mi
^^hTti7 II = ipmra:^
Ma;. Maj. Min. Maj.
Maj.
Maj.
~fll. -^^-*-; - " ^°J
^J\ II II \
mi
■a
re
-e-
do.
J^s^l
^araia
iJ
The turn has a pretty effect on a plain note when used judici-
ously : there are two sorts, the common and the inverted.
The Common, marked.
performed.
P
lifjf^
XX
OBSRRVATIONS ON MUSIC.
The best method to acquire the turn, is to practice on every
syllable, commencing on the lowest note, and ascending to the
highest, within your compass; beginning very slow, and singing
every note clear and distinct ; and increase the time by degrees,
as you find your voice capable of sustaining itself.
^ LJlPzf^fr EJ=^-^^-fz^=|
_ — F--3-f^ — :: — F s r -p — f — W-- r- i
fH*-
-••
__JE
f
f",
f-
■~T~
1
1
1
-(■
-r " ■
r^icr
^ r i'-F-
^^
lj--:litl
OBSERVATIONS ON MUSIC. XXI
The inverted turn precedes the principal note, by commencing
a half-tone below it : thus.
Marked f performed.
fezij M
There are a variety of exercises for improving the flexibility
of the voice, which can only be imparted by an experienced
master, and no written instructions can convey the mode of
executing them ; but a few general observations may be of service.
Great attention must be paid to taking breath; for unless a suffi-
cient quantity is inspired, and kept in reserve, the notes Mill
become weak and faltering; and, instead of a clear succession of
notes, a confused jumble of unmeaning sounds will be heard.
Never take breath in the middle of a word, or where the sense is
closely connected; but after a comma, or the beginning of a line,
after a dotted note, or rest, the breath may be taken with propri-
ety. Every exercise should be sung slow at first, and gradually
increased, till the voice becomes so inured to the passages, that
it b impossible to fail. -''"^^^H '
''iiic^i t 1 •■ STYLE
Is next under consideration. To command a good style, the
pupil must possess sound sense, a just descrimination, and
an attentive observation of the best singers of the age. It is the
style of our great singers, that gives them, in a measure, the
saperiority over the mass of those who remain at a considerable
distance from them in popularity. Let a person possess ever so
fine a voice, or ever so brilliant execution, if he has not feeling
and taste, he will ever remain but in second-rate estimation
to one who has an indifferent voice, with the power of expressino-
the various feelings, and entering into all the pathos or energy of
XXIt" OBSERVATIONS ON MUSIC.
his subject; — the one sings to the ear, the other, to the heart; —
the one is a mere organ-pipe ; the other is a soul K^hich enters
our hearts, and carries us insensibly with it. What has raised
Mr. Braham to the high pitch of popularity he at present enjoys,
and leaves him no competitor ? It is not his voice, for there are
others who possess much sweeter voices: it is his style, his ener-
gy, his discrimination. The songs which he excels in, are only
outlines, which, in the hands of others, are mere sounds, pos-
sessing little to please or admire in them; but, filled up by his
exquisite taste and judgment, they become finished productions.
Yet we recommend not a downright imitation of Mr. Braham,
though there are few who do not imitate him; but a person pos-
sessing genius may take an example without following it so
closely, that every one may perceive the resemblance. Imitators
generally copy the peculiarities, not the excellence, of the original,
and thereby betray themselves. A man may build a fabric on a
^certain structure, but may so alter and arrange it, that it may
pass, without strict examination, for a design of his own. So
ought a good singer found his style on the best basis, but so cover
it with judgment, that it may appear the emanatiou of his own
ius.
Few instructions can be given on style; it must be the result
of observation, guided by sound sense, adhering strictly to the
nature of the melody, and the subject of the words; giving each
their proper expression, and unaffectedly uttering both, that they
may be understood and felt.
While on this part, we shall include a few hints on the use of
ornament. It has become the fashion to attach to any melody,
however simple, a number of notes unconnected with it, which
are called graces; but, in many instances, they may be termed,
rfij-graces. It is the indiscriminate use of these, that the novice
ought to avMd. There are many who, possessing flexible voices,
Xxiii OBSERVATIONS ON MUSIC.
seek every opportunity of showing oflf, by running through the
whole scale at almost every other bar, and by disjointing the
melody and the words, destroy both. Even an apogiatura too
often introduced, mars the melody; but judiciously put in, adds
greatly to the effect. When the words and melody allow it, a
short cadence may be made; but always in character with the
air. Nothing is more ridiculous than a bravura run in a subject
requiring pathos and feeling; yet how often do we hear it; and
sometimes very slovenly executed. There are some who, having
a few runs at command, use them indiscriminately at every
part wherever their voices will execute them, and frequently the
same graces, as they are termed, will be heard half-a-dozen times
in the course of a song. This shows, at least, a poor imagina-
tion and a scanty store, when they are applied on every occasion;
not to mention how they tire the ears of the audience. Another
fault singers fedl into, is, that of using a favourite note in the
voice, which, whenever an opportunity occurs, they will hold
out twice the length the time will admit, and keep one in suspense
on an unimportant word, such as, and — to — the — for, &c.,
thereby delaying some immediate part of the subject, that one
has forgot what is was about. The voice should be so practised,
that they may all become favourite notes; all clear, equal, and
distinct ; all of the same quality ; blended one with the other,
like the tones of a fine instrument; all equally under command.
The weakest part of the voice should be practised most, to make
it as flexible as the other: at the same time, be careful of strcun*
ing it by over exertion ; let it be done by degrees ; by a little and
often; and, with patience and perseverance, you will bring all
your notes equally good, and under your command.
We cannot conclude this part better than by giving the follow-
ing extract, from a work entitled, " The Art of Improving the
Voice and Ear :— {*' - ,
(!jita lo U'jAi
XxiT OBSERVATIONS ON MUSIC.
«* It is an extremely false taste to overload every performance
with a profusion of ornament. When a piece has intrinsic merit,
or when a singer has a fine voice, ornament, if profuse, has
more chance to injure than to add to its eflfect. It is not to be
denied, however, that ornament, when judiciously placed, is
indispensable to a singer, and will require great care and practice
in the acquisition. The following passage from the life of Rossini,
by Count Stendthall, strongly illustrates the ideas of this great
master upon the point.
" ' On Rossini's arrival at Milan, in 1814, when he was in his
twenty-second year, to compose the " Aureliano in Palmira," he
became acquainted with Velluti, who was to sing in his opera.
Velluti, then in the flower of his youth and talents, and one of
the handsomest men of his time, had no small share of vanity,
and was fond of displaying and abusing the powers of voice with
which nature had gifted him. Before Rossini had an opportunity
of hearing this great singer, he had written a cavatina for the
character he was to perform. At the first rehearsal, Velluti began
to sing, and Rossini was struck with admiration. At the second
rehearsal, Velluti began to show his powers of gracing; Rossini
found the effect produced just and admirable, and highly ap-
plauded the performance. At the third, the simplicity of the
cantilena was entirely lost amidst the profusion of the ornaments.
At last the great day of the performance arrived. The cavatina
and the whole character sustained by Velluti, was received with
rapture : but Rossini scarcely knew what Velluti was singing it
was no longer the music he had composed ; yet still the song of
Velluti was full of beauties, and succeeded with the public to
admiration. The pride of the young composer was not a little
wounded. This opera fell, and it was the soprano alone who
had any success. The ardent mind of Rossini at once perceived
all the advantages that might be taken of such an event. Not
OBSERVATIOirS ON MUSIC. XXW.
a single suggestion was lost upon him. It was by a lucky chance,
we may suppose him to have said to himself, that Velluti disco-
yered he had a taste of his own ; but who will say that in the
next theatre for which I compose, I may not find some other
singer, who, with as great a flexibility of voice, and an equal
rage for ornament, may so spoil my music, as not only to render,
it contemptible to myself, but tiresome to the public? The dan-
ger to which my poor music is exposed, is still more imminent
when I reflect upon the great number of different schools for song
that exist in Italy. The theatres are filled with performers, who
have learned music from some poor provincial professor. This
mode of singing violin concertos and variations without end, tends
to destroy not only the talent of the singer, but also to vitiate
the taste of the public. Every singer will make a point of imi-
tating Velluti, without calculating upon tlie relative compass o^
his voice. We shall see no more simple cantilenas. They would
appear cold and tasteless. Every thing is about to undergo a
change, even to the nature of the voice. Once accustomed to
embellish, to overload the cantilena with high-wrought ornaments,
and to stifle the works of the composer, they will soon discover
that they have lost the habit of sustaining the voice and expand-
ing the tones, and consequently the power of executing largo
movements. I must therefore lose no time m changing the system
I have followed hitherto. I am not myself ignorant of singing:
all the world allows me a talent this way. My embellishments
shall be in good taste; fori shall at once be able to discover
where my singers are strong and where defective, and I will write
nothing for them but what they can execute. My mind is made
up. I will not leave them room for a single appogiatura. These
ornaments, this method of charming the ear, shall form an
integral part of my song, and shall all be written down in my
^^^^' 4iai*ittj6 tiM i*iiJ
XXVI. OBSERVATIONS ON Mt/StCi' '^
" Such ought to be the practice of all composers : and no young
singer ought ever to attempt a grace that is not set down for him,
or which is not pointed out for him by a judicious mastet*. The
violation of this rule may procure a momentary applause from a
mixed audience; but it will never ensure a lasting reputation,
nor lead to establish first-rate excellence in simple execution."
ACCOMPANIMENT.
As the voice is the principal, the accompaniment must be sub-
ordinate to it, whether in full orchestra, or only the piano-forte:
it is merely to assist and fill up ; therefore it must follow the voice,
and be subservient to it on all occasions. The great fault of
accompaniests is, that of playing too loud, and overpowering
the voice; they make that the most prominent which should b^
in the shade, to show to more advantage what is intended to h&
conspicuous. What a singular effect would a picture have, if the
artist were to bring his dark colours forward, and leave the light
in the back ground; and that which he intended as his principal
figure, was to be enveloped in clouds, or overshadowed with
trees ? This fault mostly rests with amateurs, who, so that thej;''
can hear themselves play, never study the effect of the whote.'
In an orchestra, every eye should be turned to the leader, and
the leader must keep his on the singer, and his ears open to all
around him. Every piano must be observed, and every fotti;
marked, that the effect may be produced which the author in-
tended; it is the light and shade which render the whole beauti-
ful. Many piano-forte accompaniests also fall into this error;
and frequently to show themselves off, sadly discomfort and
annoy the singer, by throwing in extraneous ornament. But this
is a paltry ambition; because there are many opportunities for
such a display, without overpowering and ruining the simplicity
that an accompaniment ought to possess. We recollect a laugh-
OBSERVATIONS ON MUSIC. XXTU.
able occurrence which took place at a concert, where both the
ein((er and the piano-forte player seemed determined to contest
who should make the most noise and show off. The former
commenced early to make a grand display of his flexibility of
voice; and the other, not be outdone, fallowed with a tfemendotts
run from the top to the bottom of the instrument: the one bel-
lowed, the other thumped; till the audier.ce expressed their
approbation, by a loud roar of laughter; and the player and
singer went to loggerheads, each accusing the other as the cause
of it.
A judicious accompaniest will always play in a subdued tone,
making a distinction wherever it will assist the singer, or add to
the effect. In fact, a singer .-is entirely iitt^^e hands of the
accompaniest; he can either make him feel confidence, or distress
him by not entering into his ideas. There should always be an
understanding between them; the singer should previously point
Out where he means to take liberties with the time, which may
sometimes be done with effect; and where he means to throw in
a grace or cadence, that the accompaniment may be accommo-
dated to it.
The accompaniment of glees should possess the utmost deli-
cacy ; for their beauty lies in the blending together the voices.
When there is no regular one written, merely chords should be
struck sparingly, to keep the voices in tune, and mark the
change of key where it occurs.
In accompanying concerted pieces, that is, pieces in several
parts, the eye and ear must be continually on the alert, and
strict time adhered to; but should any of the voices fail, or any
indecision arise, it is the duty of the accompaniest to direct the
attention of the party, at a loss, by playing a little stronger,
taking up the passage on the instrument, and marking the time
in such a manner that it cannot be misunderstood.
XXVin. OBSERVATIONS ON MUSIC.
These few hints, it is hoped, may prove useful to young prac-
titioners; but both experience and practice are necessary to
attain readiness and ease, whether as a singer or a player. No
pursuit can be gained without some labour, and many imagine
that music requires but little; yet there is none, perhaps, that
needs so much study, perseverance, and experience, and none
that repays us more in the enjoyment, than this delightful
iscience.
W. H. P.
52, JUDD-STREET,
BRCNSWICK-SQUARE.
THE
BEAUTIES OF MELODY.
All the blue Bonnets are over the Border.
A CELEBRATED SCOTCH SONG, SUNG BY MR. BRAHAM.
fVith Spirit.
^5
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-}— =^
fr
8ves.
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H
# -#
f==^=hT=Mdt=j=t==m
i
1
-+— =h-i — h
rtna:
-=HP-^
UJ:
J-H ^'
i
i
6— ^
'^— N
I
P
^— •
^— ♦
March, march, Et-trick and Te - vi - ot dale. Why, my lads
0
H-~= — y
1 J 1
T-^
•g — W
— h-
^ — b» — h
p^^i^
■4 — #
din na ye march, Forward in or - der, March, march.
3S=5t
-! 1 h-
•H 1-
-♦-¥-
I=f
X^f^
m
zr:
pg^Sffrmi
Eskdale and Laddles-dale, All the blue bon-nets are
--{ — ■• — ^^i^- T- 4—
T
-^ — t
i
f — =V
I'j'^j)! ■ nm
x)-ver the bor-der.
Ma-ny a banner spread
? ^
^
■f =t-
MZiZpEI
:ei]
m
u
^^^HiSi^
flutters above your head, Many a crest that is famous in
i
¥
^ =J-
H
ES
crnr:
^
# ^
^:e:
^^a-m
i
sto - ry.
Mount and make ready then,.Sons of the
g
^
^ — =^-
^
y— rg
-=^
fi^f.tfJjTr^
Vr
mountain glen, Fight for your king,and the old Scottish border.
JT?
&
^
-P =T f-
16
ipix^rrrnfff
M arch, march, Et-trick. andTe-vi-ot dale, Why, my lads.
m
4__ j-
rp?:
:*:5=i
=J— ±-=H
— I h-
^ It
— h
Bi
^
:=3E
^
i^gg=a
ia
St
-=] — :-^
din-na ye march, Forward in or - der, March, march.
m:
iciz^s
-=»— ■
pi?
^
m
p — F--^
i
Nt
Eskdale and Liddles-dale, All the blue bon-nets are
i
^
^
^=j:
iV«-«.
m
^^■
^
r?»
fS^
-f — =h
17
*^
^
O-ver the bor-der,
m
*. -«
ig
V=7
f^^T^mm^^
Come from the hills «rhere your hirsels are grazing,Come from the
$
H =^—
'^=f
^4-' y-
rpfl-.» — #
18
glen of the buck and the roe, Come to the crag where the
i
lizizzt
^
3
Sees
r, ... t W,
^—^-^-^-^^35^^^-^^
ii?
rrry--
^^
^i
s-i—s-
^j
1
P^^^^
^r tr— ^T"* — '^-^
beacon is blazing,Come with the buckler, the lance & the bow.
-• •- — i- — ¥
^^
H — L
^*
■#- •*-
^^
f — =t — ^
Trumpets are sounding.
War steeds are bounding !
Stand to your arms, and march in good order ;
England shall many a day,
Tell o'er the bloody fray.
When the blue bonnets came over the border.
March, march, &c.
The above wurds sing to the latter part of tJictune of the first verse— riz. " Many
• bMnoer iipread," &c.
19
'N.^<"».^'X,
When my SouVs Delight.
k FAVORITE SONG, FROM THE OPERA OF " NINA.
Lnrghetto.
^
^
gg^
j^^i^nu
t~z±
When my soul's delight a - gain vi-sits these sad sorrowing
^
• ^
■^^-^T
-^-^-=^
I
r/.
?/.
g^^
f ^ — ^
•r »
I
^ — ^ — ^
eyes. Spring's re-turn shall bless the plain, Flow'rs of
ry - ■ _„J_. #- _ _J , -:t
'-^ 1^ i 1 A \ 1 r n ^ .
Pi».
sweetest fragrance rise.
Hark ! bark ! T hear him;
m
# ■•
-I ^
*^«
i
3e
20
^ijiii.
&
■P-1-1
i
i
^^
ah
1
no, I'm
doom'd to mourn, I'm
doom'd
to
1 1 1
' V
■ , •
■
_
■n I
• '•
■
•^ -,
"1
IITT
h *
•
J
- i-a
\
-- JJJI
°
..
E=3E
f
sg^
I
— •— #
mourn. My soul's de - light will ne'er re-turn. My soul's de-
p
i
f — ^
2^
light will ne'er re-turn.
^
i=i
Tuneful songster of the grove.
Know, the voice of him I love,
Shall inspire thy little throat
With a softer, sweeter note.
Hark, &c.
Echo ! stranger to repose.
Oft I tire thee with my woes ;
See him i yet for thee he sighs.
Echo, yes, for thee he dies.
Hark, &c.
* 21
Turn Amanllis.
A MADRIGAL FOR THREE VOICES.
Moderato,
i
i
^m
I
Turn, A-ma-ril-Iis, to thy svrain. Turn, A-ina - ril
•t\}^^\n
-. — ^=F^
Turn, A-ma-ril-lis, to thy swain. Turn, A - ma - ril - lis.
s
IE-.E
P'> f
pe=l
o '
W-^
Turn, A-ma-ril-lis, to thy swain,Turn, A - ma - ril -
i
s
*
P
lis, to thy swain,Turn, A-ma - ril - lis, to thy
iqifzq^
i
^^
i
±Z±
to thy swain. Turn, A-ma - ril - lis. Turn, A-ma - ril - Gs
TT] r r
^^
^-P
li8,Turn,Amar - ril - lis.
i--C5
Turn, A - ma-ril - lis.
^m
I
#-e-j-— ♦
< • j — ^
swain, to thy swain. Thy Damon calls thee back a -gain, Thy
i
>» m
-^
I
#--#
9 — P-
I h>
to thy swain. Thy Da-mon calls thee back a - gain. Thy
^es
i
# • r- r I ^ ^
to thy swain. Thy Damon calls thee back a - gain. Thy
ynr
m
22
4 4 J O •
ti-rUC-^tfJ
Damon calls thee back a - gain. Here is a pretty, pretty.
.^'ri\iO'^\--\UU^
Damon calls thee back a - gain. Here is a pretty, pretty.
■n'Mirfl
i
e^
h* ii»
Da-mon calls thee back a - gain. Here is a pret - ty
m
Ezid
K—S-t-^
i
^m
pretty, pretty, pretty arbour by,WhereApol-lo, Where Apol-lo
N N
^ii
S
m
am
pretty, pretty,pretty arbour by. Where A - pol-lo. Where A-
s:
o rj J I jE*fjU.Jj:
pret - ty ar - hour by. Where A-pol-lo, Where A
^ T I r^iYTT^^^S
Where A - pol - lo. Where A - pol - lo can-not, cannot
^ — ^
^ — ^
pol - lo. Where A - pol - lo. Where A - pol - lo can-not
f — f-
p — ^
F^
m
)^ — ^
pol-lo Where A - pol - lo. Where A - pol-lo can-not
paM
23
i
"T
d"^^
V-^
spy. Where A-poI - lo can-not spy. Here let's sit, and
^
P=^
'M
O » II P' #
^
spy. Where A-pol - lo can-not spy. Here let's sit, and
rir
S IS
^m
m
[^
tx:^
spy. Where A - pol - lo can-not spy. Here let's sit and
finu!
i
—•
whilst I play. Sing to my pipe sing to my pipe, sing to my
wnijQ-iVfu
whilst I play. Sing to my pipe, sing to my pipe, sing to my
i?=F
i^niruun
whilst I play. Sing to my pipe sing to my pipe, sing to my
.cjrjjjuJj:
i
pipe, sing to my pipe, sing to my pipe a rounde
m
i
I
2Z2
^ )^ \^
pipe, sing to my pipe, sing to my pipe sing to my pipe a rounde-
;)••« p. J Tt
K~~K
^m
t
^
1=2
pipe, sing to my pipe, sing to my pipe a rounde-
24
'^m
i
I
i
I
lay, sing to my pipe, sing to my pipe, sing to my
ra:a:FP^g^
3C
lay, sing to my pipe, sing tomy pipe,singto my pipe.
Sg
n
m
*
lay, sing to my pipe.
sing to my pipe.
^m
i
f -4 .
pipe - - - a round - e - lay
i
1 .:•*.•#
^
EGe=e
±Z^ZI±
sing to my pipe a round-e - lay.
Wn) o TStzL
^m
BUS
WTT
sing to my pipe a round - e - lay.
Let me Wander not unseen.
aV¥G BY HISS STEPHENS.
Siciliano.
Handel.
^^^^S^
5^rTJ
murium
00 r
s
Let me
-F-=h
25
^T^TfFF^^
wan-der not unseen. By hedge-row elms, on hillocks green;
TT?
1
■=V=h
There
^
i
^^
#— ^
mr
entoii
^T
p — p-p
^ U**- '[,* I l»~^C" [, I >
k k
the ploughman near at hand. Whistles o'er the furrow'd land,
a=i=='
QJrTTtMTrc
¥~g
#— #
P^
rt~f:J]| r- r-tf-'JUX
There the ploughman near at hand,. Whistles o'er the furrow'd
.^
iffi
4 4 -d.-P-it
4,^4 4 4 d ^
Sym»
land. And the milk-maid
m
i
3=^
^
f
^
4 P M
i
^
26
:f » * # §-m #
:U ka g
^
sing - elh blithe. And the mower whets his scythe, And
p I .J J J 1=3=^
i
# — #
^^
me
p¥^
Utf
k
e - ve-ry shep-herd tells his tale, Un-der the hawthorn in the
rm^GfigT^
grJrtr^
Sym.
f — V — Is
^m
tale, Un - der the haw-thorn in the dale.
=i=p:
Andante Allegro.
Or let the merry bells ring round,
Sm
^^^^^W^^M
s
k — k-
Or let the
m=t=$:
p~:-M p p
f^-f-^
i:zi=J!c=s
m
A-F^4^
±ziz
-^ ' ^
mer-ry bells ring round. And the jo - cund re - becks
m
>-^
1X--
=^^5Q:
M
jjy Ti
sound.
And the jo - cund re -becks
^
g0T^ i\ um^m
youth and ina-ny a maid.
Dancing
:):«, r tfF
■f= — f-
3 3.3
29
many a youth and nia -
ny a maid
, Dancing in
the
^ Vtt
t J.w,.
i
A
1... t; -
L-j
che-quer'd shade.
Dan
cing.
dan -
■ {
•
■ it* ■
• l.»,.
i
f
tl
4
^
4
•
i
P^sa
agjjJ
«— ^
k^—
• ". ' .
A
...
cine:, dan-
cina-
in
the
..
■
' Vrt
ft l.il,.
a
■
tt
4
«
L- ♦^
[f^^^^^^m
chequer'd shade,
To manv a vouth and
S
:p^-t^
^
I
^m
m
ma-ny a maid
Dan-cinff in the
m
##=?
30
3 . 3 , 3 3
Dancing
n~-^
m
^^WTp'^PPm^-w^
te^
F>"r T^:^^7TT"7^
iffli
dan ---._------- cing, dancing
i
f
— ft^-rv-N— fi
^=^=i
i&
E
-f--
1
in the chequer'd shade.
m
EE
i
^m
WJM.
P r-'*
AnJunlinit.
31
John Anderson, my Joj John.
H ^
g^^p^d^
m
t
It-*
mi
■ ■ ■ ' 4-\ — ' — I '■'-J — I • L
i
m
^^SJziS!z
■ ■Lj' ■ — U I ■ L
^-^
■^^
e — p-^
« — #
John An-der-son my jo, John, When
35
^^
SBS
« -*«
^
i
^
« •
Na-ture first he - gan. To try her can-ny hand.
^
f :if-i-r p
i=3t=*
t
• > 4
3i=
i^
i=^
^
#=P
John, Her mas- ter work was man. And you a-mangthem
'^^rr-H^
m
J <
ti2
Sip
*:
i
a* John, ,so trig from top to toe. She prov'd to
^SP^^,
^-31
John Anderson, my jo, John, ye were my first conceit,
I think nae shame to own, John, I lo'ed ye ear' and late ;
They say, ye're turning auld, John, and what tho' it be so?
Ye're ay the same kind man to me, John Anderson, my jo. *
John Anderson, my jo, John, when we were first acquaint, '^
Your locks were like the raven, your bonny brow was brent ;
Bat now your brow is bald, John, your locks are like the snow.
Yet blessings on your frosty pow, John Anderson, my jo.
John Anderson, my jo, John, we clamb the hill thegither.
And mony a canty day, John, we've had wi' ane anither ;
liow we maun totter down, John, but hand in hand we'll go.
And sleep thegither at the foot, John Anderson, my jo.
^
Together let tis range the Fields. * 1
A FAVORITE DUET SUNQ BY MR. BRAUAM AND MISS STEPHENS.
Vivace ma non troppo. Dr. Uoyce.
*fe^
BETZI
Cfffr^l
pi|
IX
4-4
4 4-
ass
?
I
&
mmm^
SS&&
I
^
^.
^^^^^.
jQ-gfi'lf.
JJ-J-
^^
^
»
#^ 4^
To-
u
-^
.=^_^
■.—m±
f"Vfrn
-~j— ^^-T^
1^^
gether, To-ge-ther, To-ge-ther let us range
1^
•f==f-F-
Together,
Together,
^2
N— |-N
L^^tti:
^E^
»»
M
£
-=l — F-=H
^_=, ^'
I
e=i
I
the fields.
Im-pearl - ed with the
-^^»
§
nn»:
^
i
-=1 F-^
K
o-ge-ther let us range the fields.
^^
P~r
i^£z^
p-r
^■■,; ■
^Sg
■1 r-1
^
morn - ing dew.
Or view thee
^r'^-^-rrm
as
1 r 1-
Impearled with the morn - ing dew,
^!
si
^
— iZZ:
-^-r
-^-^
i
35
m
-u — k-
zsEzze
1 r 1
fruits the vine-yard yields.
«»
at
,> f-f /I
-p-=t— ^
f
\0 ^ C^
Or the ap - pies clustering
^^
e
^-!-
fi?
i
s
«*
F-^-
I
There in close em-bower'd shades, Ina - per-viou»
O-h
i
P^
?
»
bough, There in close em-bower'd shades, Im - per-vious
m«i
P — P
p — p — p
■^=-^
4—^
S^^*
^ggg^P«i j[«J ^
s
TSTiy
«i=p:^i
-=hH= =V
to the noon-tide ray. By tink - ling rills
««
tS=M.
I
m
-=\ — F — =^
«i
to the noon-tide ray.
on ro - sy
^5
^
-• — 4-
■u^^ —
F-=h-f^
36
tz-viwtwf
riM
£pi
rzK
We'll love - - - - - the sul-try hours a-
l^tp=^
beds,: We'll love ----- the sul-try hours a-
igffig
p—^-p—p-
p~p
t»M
4-4
i
I^H — ^^-f
way. We'll love
the sul - try hours a-
5-«ix^
-f-=^
^^-=^-f-
K
P^Pa,^p
■^ — F-
way,
We'll love
the
3i*
«i
^
F^
# P • g »._«__»_A
l^_j — ^
-8»
=«M-^-p-
I
sSi
-^^-f^-
^ k. t^
way. We'll love -
the sul-try hours h-
Kul-try hours a - way, We'll love
the:
iSttS:
^-j ^J_j ^^-) ^
^1 1 L *jl
37
}|
^ffS-^
'M
■^— F-
— w
!»i
?ay.
the sul - try hours a - way.
^It
«i
p^
«±=5z=±:
s
We'll
i
■Kr
tti
sul -try hours a - way.
the sul-try hows a -
^!i
m
p — p
9 P-
«i:
P — 4—P—4^
Sgm.
p^MfFS
tfCm^'^JJj>
love
the sul-try hours a - way.
g^e^gg
way. We'll lore the sul-try hours a - way.
^^^m
W=p
»
:«i
I
i
T-ri
2itd FetV«.
-prS«.
-Ji^ihuH-mEiip:
To-
iSjizC
SS^
^^
T-r-1
psi
38
fct^
^
-f^^H^
Together, Together,
^^^^^^m
gether, To-ge-ther, To-ge-ther let us range
ei«
*-r
«i:
ge-ther let us range the fields. «i,
^a
"»i:
-^ r 1
•(=-=1 F-
^^
the fields.
i-=h
#-*-#
Iin-pearl - ed with the
f
• r*,
-8?:
«i;
F l-P'
T-f^^-^
|aSE|
a^M
i
1 - r-1-
k-^
Impearled with the morn - ing dew.
gfeauun^.i =T?^
morn - ing dew.
Or view the
31$
«i:
■*-=-
39
«?
JSi:
-F-^
^^
Or the ap - pies clustering
^m
^f w
f
1 r 1
hm k
fruits the vine-yard yields.
M^g
m
^
?
ta
-k9»
i
«t
rvT
^
I
bough. There in close em-bower*d shades, Im - per-vioas
kpT r * I . ifcrtil-h. 5P ^^p^
?
There in close em-bo wer'd shades, Im - per-vious
S!
?
^
«i:
y-g
fepN
^
-^i F— =^-
-J- to the noontide ray,
s«.
By tink-ling
. fc«i
m
P-P
^^m
to the noontide ray. By tinkling rills.
m]T?T7't"ff^
40
i
«&
■1 ro
rills.
-=t-F-
fe±i^
on ro - sy beds. We'll love
1
»»
aif^^
pip
-1 r 1
rir-
^i
on ro - sy beds.
We'll lovft .-,^ I
ImuU^tt
00 P
N I Ni
a^ ^ f ^ I til 'J
• ^ • #
i-— gC^-i >^ N
^^ra
the suUtry hours a - way. We'll love
the sul-try hours a - way.
We'U
[^S
fe
wm
■y=i
£S
«*
«i:
^
*^-^^tt
J
^ 1 r-
f
0-^ F-
the sul - try hours a - way.
the
-»«
5«iif
ktM=±
p^
love
the sul - try hours a-
^¥^i44^H=njnrri
-5^5
— ?> r * ^j
41
P-1 -r-^-
H^-^-^
K
-=V-f^-^
sul - try hours a - way.
By tinkling rills, I
«»
'pfg
I
ai:
Jtr^n^
^~^T F-
fct
ktzb:i^r*ii
way.
the sul-try hours away.
By tinkling
a!
i
C^r fiJD
«»:
^^
P^
a
— 9^--
^ii."'i-
w^-H4-i\r ' '\ '^
On ro - sy beds.
We'll lore
sl
m
«i=to
-f— =h
r(» p
m
.i^_f^
Erf#
I
rills.
On ro - sy beds. We'll love
m^iif-^\Uf^\W^
4-4-^-4-
t^sP- f> ifFrrTrf^frriP' Ffff
ir:^
i
a
ggj^^iHg^z;^
i^#-i =31
Vw/ ^-/
iJrljjlJWfjJi^
^«i
I§t
fi
We'll love - - - the
*«
3:zv:
i^^-W
i^5s
z^=P:^^^^^^±t±
We'll love
the
JJ?«
-d--*^— ^
'-^M"
K^
-Trn^-
!3|33
■ ■■ — ^ ■ — t—ff ICJ — ^MH — ibU — "H — *■
sill - try hours a - way. We'll love - - - the i
HFSgg^iT-pf-^
i
:«i:
-=1— F-
£fgpffF|n
-=H^
ens?
Sglcji
sul-try hours a - way. We'll love
the
^
^. •v
43
«:
m
sul-try hours a - way
j^»
m
s —
-T f=^-^
sultry hours a-way.
^S
^Sipiipiipi
«»
P
«i:
By tinkling rills
h^
-F-^^-
^m
3EE
By tinkling
By tinkling rills
By tinkling
^E
«a=^=^
:3z£±ra:
|P^P
PLH
S
We'll love
the
rills. We'll love - - - the
3ii5
«i:
We'll love
.As (t
H=^
^
is
cm^^M
a^
-*
44
8ul-try hours a-way, the sul-try hours
««
M h-
1=^
«t
^ #
b^ I ii*'
m.
sul-try hours a-way, the sul-try hours
Nt
]E=i=X
^t
I
Uta
e-^
-ev
■«ft^
i^^^^s^^
«t±:^
I
44
way.
^^ _ ''
isSig
PS
N- -
g
igi##
Wit^
aZkm^
:*
I I I I I
^ttgtfi£
I
^
g%gR^B
IBt
1^-
^
s^
-i— Nn
^^m
-4^-— 4^-
^j^^^^^
:'(() 'iiu
m^^\-rH-r^
n
P
iwji i'i'
&enlle Youths ah ! tell me why, '■ |
i
SUNO BY MISS STEPHENS IN LOVE IN A VILLAGE.
Largo. Arne.
:-p|i|3
^2
ilE
^1
-W-T-
fm
Mfji.j^[ijjj;n
Gentle youth, ah ! tell me why, j
mirr-.W^m \^m
m^^m^^m
Still you force me thus to fly; Cease, oh ! cease, to
S«
^S
«i:
J5^
f
■ftft
d
p«^ffj«fe|
per - se - vfcie. Speak not what I must not
EBSfrc* r '^^
Ig
8«
■^
/'-N
s
»i:i=^
f— F-
hear, Speak not what I must not hear.
mu
m
^Mfe^AH^^
^e
-*-^^-
To my heart its ease re - store. Go, and ne - ver
^«ii
m
^^
^
jg&^farj^rf^^^
see me more. To my heart its ease re-store.
aB
SeI
• — *—*
nt
i
Go, and ne - ver see me more. Go, and
^
eElEZK
lil
•7
ne - ver see me more.
3^5
rir r'rrfiri
«i:
^S
^
i
48
c Still in Hopes to get the better. \.
SUNG BY MR. PYNE IN LOVE IN A VILLAGE. y
Allftih. Arne
WUi\i!0^^^^.
— 't-
is
sg^
p~^
m 0 • 0
P-0-
P~=-
is;
F-
D^b f '
0-^
t±^
h- h- h
Jg^SS:
\Y\fWT~W—^..\ t~^ P ^yTT-f
fCirrrtt
■1^
n
gftf^^^^^
Still in hopes to get the bet-ter Of my stubborn
^i^
^
Nt
4d
# r
E^iPS
iM
flarue I try ; Still in hopes to get the bet-ter Of my
EfcztJ
^
^-:r-|^-^
-=^-
gg
p^
>T-
fr--^
fc3
c-mrrt!^
stubborn flame I try ; Swear this mo-ment to for-get her.
t-t: — P-
m
b#
fT^ifc Lpgj
i^afej^EfeNpi^
Ar
id the next my oath de
-nj
r, my oath de -
ny
, my oath de-
' V
• ■
1
1
• I.
9 W
f
f
5
• ^
»■ r-"
■J
. ■■" 1" -
1 ^
(*
LJ
r"*
a
i
i
^t
e:ii:
Jl* ^ f
-nn
Now pre-par'd with
tfah^-ftj
1^^
f~fmTt?T-r f r r
scorn to treat her, Ev'ry charm in thought I brave, Ev'ry
iijjrrp"J
itzz^
p
^
50
I
i
c\
m — y
^^
*
charm in thuught I brave ; Then re-laps-ing fly to meet her
i^^
4^_i._
^
L«' U t^ U— t;r
^=i
And con-fess my-self her slave ; Then re-laps-ing fly to
CrfrT-fTTTr^gsp
I
*_._-.
meet her. And con-fesg my -self her slave. And con-
a.-f f r IW^TT^M
i
— h
3^S^
i=F
'^ ^ ' u
fess my -self her slave. And con-fess my-self her
slave.
m.
^
51
a
S#g5g
When Time was enlnnning.
CAU.COTT.
^35
g
•--#
P§^
M-^p # F
When time was entwining the gar-land of yearSjWhich to
fes
^
43^
mui
^ • — •
When time was entwining the gar-land of years,Which to]
^55
^
b ^ 4 \ 4 4 t
When time was entwining the gar-land of years,Which to
ro.br- #
s
lEi-ip:
±±z^
SI.. SI
crown my be - lov-ed was giv'n.
fc^
■'s*.«
P
« 0 #
crown my be - Ioy - ed was giv'n.
i
3±
l^^
-— ^
1 f
crown my be - lov - ed was giv'n, Thougli some of Ihe
62
sul - lied with
I
pai
fe— F-^
f"-
Though some of the leaves might be sui-lied with
^^
^
e-~i.
^ES
leaves might be sul-lied with tears
with
f I b,# ■ . p r
^
-f^— f-
tears,
the flow'rs were all
^7\Trm^
¥'^ L C'^-
tear8> Yet the flow'rs were all gather'd the flow'rs were all
k^.i. P r. f I f • r rr^^^
b t l^ U
jg .' I
tears. Yet the flow'rs were all gather'd in heav'n.
±-£rGte
i
^
^
gather'd in heav'n
in heav'n - - the
^^
gather'd in heav'n, in heav'n
the
m
i
TT-ff
ifcii
^
TTTT
heav'n were all gather'd in heav'n - - the
od
fc — —fvi^t^i
i
^mmm^^m
flow'rs were all ga-lher'd in heav'n And long may this
kx
h
4*4/9
^^t
yi.,-.#p -lip
5c:zs
flow'rs were all ga-ther'd in heav'n. And long may this
m
—i
i
i
tktzzt
— @-~F
^
lf~9
-F F-
flow'rs were all ga-tber'd in heav'n.
i ■^etf- ,w*^
Uii*
gar-land be sweet to the eye.
kzi
4^-P^
WZl^M^^
# — ^
'^ ^ 'li
gar-land be sweet to the eye.
^
^^i
P_* — e
H=-^
-k^
gar-land
to the eye. May its vtrduro for
'i
^^
-F-f^
#---#
May its ver - dure for e - ver be
i
PE
-F-H=-
4L.
May its ver-dure for e - ver be
m
t-~U-='-H-^
e-ver be new
b«
54
new, May its ver - dure for c - ver be new. Young
frzK
i
^»
n±:z±z±±=lzz
tzttiztiz:^
new. May its ver - dure for e - ver be new. Young
Efe
• * It
^
# — P-
yv
new. May its ver - dure for e - ver be new. Young
i
hFTO
j5^-^
^---^
¥=^
Love shall en-rich it with ma -ny a sigh j
^
n
1 1 > • *
^
♦iTT
Love shall en-rich it with ma-ny a sigh ; And Pi - ty shall
m£
m^
b 4 -4 — #
Love shall en-rich it with n»a-ny a sigh ; And Pi - ty shall
e— ^
© — =-
-f'-F-
Young Love
S
W=H^
•f^— f^-
nurse it with dew ;
Young Love shall en -
s^
iiii^
nurse it with dew ;
Young Love shall en-
55
i
-e — ^-
m
And Pi - ty shall
iraE
A-Z I F~7 tzgfe
i
g
rich it with ma - ny a sigh ', And Pi - ty shall ).
m^tr t : \T axtt:^m
rich it with ma - ny a sigh ; And Pi - ty shall
^
t
# — ^•
nurse it with dew, shall nurse it, shall nurse it. And
3
p\ P P 0
f
nurse it with dew, shall nurse it, shall nurse it. And
ffi5
m
P — P
nurse it with dew ---------- And
b.^«.#:
^
i
s
Pi - ty shall nurse it with dew.
^
^s
Pi - ty shall nurse it with dew.
^r : r i rfirm
Pi - ty shall nurse it with dew.
56
Heroes when with Ghry burning.
I
A Tempa di Guvotlu.
Handel.
— rqr^
ffltt-rft^M^
;>:, .rflJJ:
^
f— y— f
^
tt:!
^d ^ d
4-'
m
£f^
^
J
i
-&~t
^
:i=*
t-
li.'.— — -
— H«-«)£6
wb«H with glo - fy
l>ur« - -mg alt ittekr '
i!.l» -
rli -
■
h
■ -d
L J
.57
^
f^=§f=^=^
-\—
toil with plea-sure bear.
^
tt!J:i£la
^^
>.fl» F r—P
iF ^' J
^
g
And be-lieve to love re-turning lau-rel
I
#~^
ijiiig
wreaths be-neath their care.
..,:::::. '.i
_i
-r '
P-f
P a.
f}' ■ I
^
r
~4
-J — 1 —
-L-
^
b
^ «
'
— i--
f^
-h-T^I— t:
t
Tpfr-...fr.T^,\
{
i
^•
:=r
He-roes when with glo-ry
burning all their
'V
[^
m
• J.
9
■
■
T
h
c
■
I
-^t
^f=l
m
toil with pleasure bear, And believe to love relurn-ing
m
:*-
^M-J^
...r
e
w
-0~
58
si
*
to love re-turn-ing lau - rel vreaths
be-ne
alli
their care.
' V
■
^
f
Li:
• ''h ■
■
„ ,. L
f
c
k
—
* vir Pf.i-p-F^^
i
s
P=i[
^^
He-roes
t #» • ■_
feig
=i?
^
S
when with glo-ry
3urn-ing all their
toil with pleasure
•
be
ar,
' V
f
. 1.
■
- p*.
h
1
_J
^
i
iS
e^
^ U ^ 4^
^
4—4
And be - lieve to love re-turn-ing laa-rel wreaths beneath I heir
a
t
i
^— F
TCfif "^CfltTjgf?^
*
And be - lieve to love re-
^^^^^^m
59
-Q '
—
, ..
/i b < J
P
f
(\i *
'
y.y - «
^
1
4
a
•
i
i
4/
turnin,
^ lau-rel wreaths be-iieath their care.
be-
^V ■#
3
i
iH-^
g
luTErr]
^— 1(
ncath their care.
And be - lieve to love re-turn-ing
m
tofrjrirh^
n
f!\
i
T~y
I
fi
cr — ^
m
lau-rel wreaths, lau-rel wreaths beneath their care.
r TjiFr-r.i
;): r fr r J
I:
War to
60
^^^i^^
har-dy deeds in-vites,
z:e±3:
War to »
mm
FFFPF^^
^
^ ^4 ^ a^irg
3U-^-*
a <
har-dy deeds in - vites. Love the danger well requites. Lore the
^rN^T^ft^'^ I r r ritTTf
daa-ger weli re-quites.
Love the
lgN=#
3
:«:
mEtoa
^
■^— -pr-v--^ri«^-^% jger, War to
r-r-^
±=3t
61
gpf£]ffffrn:tt
H P ^ ^
har-dy deed
s in
- vites.
itfp
P »■ 1
Lore the |
f- m. . 8
^ >
-yr^d
J
y
^^-^
gTjij ^- c'r^^
dan-ger \reil ro-quite!«, War to har-dy deeds in- vites.
e
^
U^fr^tl-^
e
^
# * #
Adtiglu,
I
ii-'^=#
Leve
the
^v
•
.
..... . ^
•.J.
a
■
f
h
A
d
hr '"
4
i
1
rci
,-- H.
■—
4
■-
i
i
J
./4 Tempo.
^
^^=^=^
^
dao - gw well re - quites.
''V
^F=Ff
£
:£
*
N— 1 — ^
16
i
l2i:i=3
-gj I J I — r — rr-TT »j » ^9-1^
±=tf=±:=i=z!^
Z:i-LJ--Lzz-z=3lz=j:^=J£ES^EgE
6-2
i^^^^H^rrfj^
-e — I-
p
He-roes
^ ' HI [JJij j^i J 1
^} J j u
Efetft
when with g!o - ry
burn-ing all their
toil with pleasure
'V
1 1. ■
■
I
h
'
s
rTj 1
Z3t
bear. And be-liei
re i
0 love
re-turn
-ing
la
u re
wreaths be-
'V
.,
•
• J* .
1
t
^
h
i
4
■— W 0
J
1 — J
U .|_
s
^^^
neath their care, lau - rel wreaths be-neath their care.
■IV--C3
^a
'^m
t5i=*
^
Dal Segno.
63
.— h^
?piniB maasai saiBiL®iDiiiaa^
N0.i*
Harkf I hear the OcearCs whelming Sweep.
THE WORDS WRm'EN BY WILLIAM LEMAN REDE.
Andantino espresnco. [Air— Low;'« young Dream.
^^rtfirf rr^-^
t
fe
I
m
^gp^ X
^terfgfcj;
-^M^klb
-^
rP ^- > *
g
T3G:
s
^
i
Hark! I hear the o-cean's whelming sweep. The loud winds
f^-^-
TI^rf-jn^^L
m
*^-^- r 1
■^— r
f
^S
64
dd— -r — -^^—^
^ffrfnmm
roar, Fare-thee-well, my love, I brave the deep,We meet no
3t
rJETivinn
#- — F-^
t
^—
izn
I
^-^
• . ■■
^:
i:.!-__ii3[
more. Deep glooms the night a-cross the land and darkly
cres. f.
:i±
-p-^h
gS
-^=l-'€-
^
i—
"i-
■I ~ — — zj^L U r 1^4
#. -^^
f — iH
-=^-
^H--^-
;^
:e
N — ;■
^
^zzfiz
lours the skies. Coldly blows the wind and cold's the hand that
^ ^jf!=jr^rhi^^
I
rinf.
m
t&
-H — F — *h
i^""J— H-dsiJll:
m
in mine lies. And the on-Iy lights up - on the strand Are
iig
Ei
m
p—^
mBSi
I
-f-^
-'^-ih^
^^
--f^-^-
4^ — 4-^-4-^
those lov'd eye».
i
w^
■:^
^^
f
i
When my bark across the foamy \mue
Shall fty frojn thee, —
When those dear bli»ecyes no longer shine
Life's light to me,-^'
This heart thy smiles first taught to glow.
Will bid emotion ceaise^
And I, from ills and griefs below.
Find one release,
Wlen these eyes that Tong have wept in woe,
^ Shall close in peace.
m
No.H.
Could the Voice that I lov'd wake again to this Ear,
THE WORDS WRITTEN BY WILLIAM LEMAN REDE.
[Aia~SAe vt far from the Land.
n^s
fe
t
^M I f - < ^
■-F-^
i
^=Sf
kk
■r 1-r-
Could the
eis
^i^itf ctf I r M[
Wr
fe
p:^
i
feii:
i
F5
EX
voice that I lov'd wake a - gain to this ear, AH its
fet
^^m
^^3
&f
^^^^^^m
rap - tu - rous ine - lo - dy breath - iiig
■^^
^3
^m
^-t-j
^=4
^
^1
■=\ —
SE
fEars:
^A4=^
^
then might for-get all the sor-rows that here Round this
mm-i-1-Jim
:y.h . r r~T
^
m
±iE
id^toiisw
^
*S K
WgM.
4 4
de - 80 - late heart are en - wreath - ing.
I
^S=f
^MMb
t-^
r?
i
^
s
p^
68
rinf.
i
m . m
■d =^
s^i^^^^
m
=tt;
k
i
1^—
Could the eyes on vhose light it was rapture to gaze,
feinJ u Shed on me their Iustrou» splendor.
Beam again, like the moon on the streamlet, their rays.
All gloving, yet meltingly tender, —
Could the lips that were brighter than rosebuds in hue,
, When the dews of the morning weep o'er them,
' Melt once more to my own, or be bright to my view.
As when first my heart learnt to adore them, —
I again might be blesa'd ; but cold in the tomb
Lie those charms, with my Julia sleeping ;
And lonely I wander in silence and gloom,
To moisten her grave with my weeping.
The winds whistle over the grass at her head.
And wild roses around it are springing,
As still, though the <|ueen of their beauty lies dead.
To Ihe mem'ry of loveliness clinging.
•i
m-
..-^^f>-- _^— ^-
Ye Woods and ye Mountains unknonm
^n ISlegp.
COMPOSED BY WILLIAM JACKSON, OF EXBTER.
Larghetta.
■u ,
^^
^S
4 4 4\^
-w—it
Ye woods and ye mountains anknown,6eneath 'whose dark
^mm
^-^^UU4
^4<¥e woods and ye mountains unknown.
. ..^^_^4tfS-£ wu<Kis aiiu ye iuuuiii>aiiii» uiikiiuwu.
v¥s woods and ye mountains unknown^Beneath whose dark
_i—
M
FP=i
^P=P
w
■f=— F-
^
kib:
sha-dows I stray.
To the breast of my
m
§
^-f^
zm
M-^
Beneath whose dark sha - dows I stray.
^g^
# •■ # -|-»^^
#-r
shadows I stray, be - neath whose dark sha-dows I
• ,m\ ii
^^
rO
t
-f^-f^-
charmer a - - lone.
These
i
i
P-P-
VZ'OS.
« — F-f^
#—- •
IZjI
To the breast of my char-mer a - lone.
^^^^ili
:^
stray. To the. breast of my char-mer a - lone.
m
^
b Wm P
zrz
^fc-r
^-#
sighs, these sighs, these sighs bid sweet E-cho con-
4fe=f=f
* # I*
^
These sighs, these sighs bid sweet £-cho con-
SB
i
iP=t3
f^-^
* « 'w
These sighs, these sighs bid sweet E • cho con-
^m
jda
WOJL
^
ffi:
4 4 4 »•
m
rey. Wher - e - ver he pen-sive - ly leans, Wher* \,
^m
■^-r-
tn
vey.
Wher-
®E
vey.
i
^rr:<rr:
sS
Wher-
71
^iHTTTflgt^^^^pi^l
e - ver he pen-sive - ly leans. By foun-tain on
m
4 4 U
»
4 #
e - ver be pen-sive - ly leans. By foun ■< tain oa
3^
# P-
I^Tt^^J-^
e - ver he pen - sive - ly leans. By foun - tain on
^r^'^jisteg^
bill or in grove.
His heart will explain what she
i
p^
« — #
^*±:±rJ^±hid
hill or in grove, his heart
will explain what she
mi
m
i
s
-f-F-^
bill or in grove.
His heart will explain what she
i
W^=^
^
6^
f—P
e— #
nrs
i___^
meanSjHis heart will explain what she means,who sings both from
I
S-P*
-; — F-
-f^-f^
^
^-L^W^
means, His heart wifl explain what she means,
Who
i^^
^Bm
-f-f-
means.
What she means.
Who
72
i¥:?:*TJl
p^
±t
P^-
sorrow from sorrow and love,who sings both from sorrow St. love.
^^^
sings both from sorrow&lo\v,whQ sings botbfrom sorrow & love.
m
m
inrT
«=?
sings both from eorrow&love,who sings both from sorrow & love.
s^a
m^
J J J I d =31
miZM
More soft than the nightingale's song, O waft the sad
r iuL^^
More soft than the nightingale's song,
S^
P- 0-
fFF^M^
?=:F
i
More soft than the nightingale's song, O waft the sad
^
-F — -F-
^
sound to her ear.
And say tho' di-
b r r
i
aL^j. : y-ri<
O waft the sad sound to her ear.
K
Ie^
ie:=ii
i
-&
-I— r— -
sound to her ear, O waft the sad sound lo her
^^m
■4
7T"y
vi - ded so long.
i
^-— F F-
-r^
#
Tlie
idrrt
And say tho* di - vi - ded so long,
m^f^=^^mf^^
car. And say the' di - vi - ded so long.
^pcrf
m
b Fm P
W^
WT
friend of his bo-som, the friend of his bo-som is
^^^^^^m
the friend, the friend of his bo - som is
i
^
-F-f^
32
s s s
The friend the friend of his bo - som is
^^m
WZJE
ItUt
cni
m
±ii:\=f
near. Then tell him what years of de - light. Then
^m
ISIZS
air*
S S \ d U^
near. Then tell him what years of de - light. Then
^
^^
1
* ■ ■ •
CT
near
Then tell him what years of de - light. Then
h /]■■-] 1
74
i
fca
m
4-4 4
■^
i — ^^
telt him what a - get of pain, what a - ges what
5fe%
i="i J ^
=««
tell him what a > ges of pain, what a - ges what
ms:
rr Fir r n^t^-f
tell him what a - ges of pain, what a - ges what
Pi
P~r
I
-^-r-
a - ges of pain
in
I felt while I iiv'd in his
PS
^Pl
SA
*=^
a - ges of pain I felt
S!
m
i
while I livM in his
P—^
?==P
-f^-=h
a - ges of pain
I felt while I Iiv'd in his
J
fcfi
m
t
t=±
*_^_i
&—4--
!=XSt
— k-
sight, I feel till I see him a - gain, what a - ges of
a
^^-!=t
m
F-
-f=-f^
«
sight, I feel till I see him a -gain.
what
^
if#
#-^
-f-H^-=h
^
sight.
I feci till I see him a-gain.
7o
i
fcF=?:
-4—4 — 4
te
H=-f^
att:
p
pain, what a • ges of pain
S
•\j—
I feel till I
¥=^
-F-F
S
ara
MZZ
a - ges what a - ges of pain
I feel till 1
yUrlL
JCZMZZZMZI^S
■f^-F
what a - ges of pain
I feel till I
'iJ
:fciE
^
a:
see him a - gain.
i
w^'^M
see him a - gain.
^
i^
see him a • gain.
-\
76
No Flower that Blows.
SUNG BY MISS STEPHENS, IN SELIMA AND AZOR,
HJoJerato.
LiNLKY.
8«-
^m
p—^
u
like this rose. No flow'r that blows is
:sM:
^mm^^^
-f — p-
T7
-S?
c?^-y
SzS
"> t»».
^EE^
3?=:
like is like this rose. Or scat - ters such per-
iiit:-p= ±=^^—^~^^^-p::
'^ -^ 1 1 .
-4-
fume,
or scat-ters such per-fume.
^52
£
3
«:
«?-
£
J=^
^ i''^
i-4
No fiow'r that blows is like this like this
««-
i
F-
No flow'r that blows
is like is
^
• •■f *
£Bg^g
pi::
^-E
«*•*' like this
rose. Up -
on my
breast
ah!
gent - ly
''Vifi
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.
k
t 7.5*!
-
■
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i r*
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it
-
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^—\ —
r
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l— ■ ■
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bloom. No flow'r that blows is like is like this
^PSi^
^^
^i
-^Z^
^-^-lEZi:
«::=ef
hb:
1 —
No flow'r that blows is like is like thii
',yJ^fr ,
gg^i^
-»«
m
^P=--^
d ^=j=g==3=r-j
rose, Dear pledge to prove a pa - rent's love, a
^^^~'T~~' — Tt^r-Frnw—^rr-^.-Tr-^.-'
■9?
i
p=n
«=p:
■^-^
5ti=i
1. 'O
pleas -ing pleas - ing gift thou art. Come
^5^
:»P
^:^»C-::
X
fS£
rffz!t
'79
sweetest
flow'r
and
from
tfa
is
iiou
r.
Live
iienceforth
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f
1
• <<<
A
■ t^b
1
1
• —
m
,
r
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• ^'^Vt
r
— pi—
r*
w
1
1
1
l_
— 1
—
1 —
Ail A
Q) '^ • ■ . , . • i^ ;_ .-c,._' .
in my heart, live henceforth in my heart. No flow'r that
# -r -jr^ -r # - '^
^
^H«
i-^rrft?
=«-©
JJ-J^jg-U-qii
22
m
blows is like is like this rose, " ~ -No flow'r that
^^s^^p.
rmlJf'^iLiui
~4--}-4
y~'=:^_^i
'^A^4;^'J'd4J4A4
::m^
w
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blows, is like is like this rose.
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I
80
^.•VX/W
No. SSi.
— -<l
i* ■ ■
Helen.
A BALLAD.
THE woRi:
is WWTTEN BY WILLIAM LEMAN REDE.
[Am— rA« nueting <J the
SehehanJn.
Wnttti
E£^
gnniiSi^iiiii
M
81
— ' — — ~— '-■ —
■# J ' ■ J »--
^^
gal • lop'd in ha&te o'er the gUde« And his
ft??, f^i^. _
■* i' W-'
^!
S:
?
i
«?■
y=5
i
i
^
P
*^ \^
steed and his mas - tcr were gai - ly ar -
1^^
:&
m«fl»» k ■
i
# — ^
¥^
^ — *^— 5
ray'd, And bright was his form.
And
^!
1
3«-
i
i=^r+tn
^
biythe xnaa his air. Id his bat was seen flowing the
m^
itzit
■={ 4 ^
fimi^uM
gift of his fair. In his hat was seen flowing the
tti^
3£
f
^ m =h
83
rituril.
And tl«lleD Knik'd out from her window that night.
And he wav'd his gay plumes, when the maid was in nighl,
Clapping spurs to his steed, swiftly onward he prest.
In a moment he folded the fair to bis breast.
And lip meeting lip, there as mutely they clung,
Their eyes' glowing rapture spoke more than the t«>ng«ie ;
While her breath panting quickly in sighs only spoke.
The echoes of rapture his presence awoke.
^
The morning beam'd brightly, the cavalier's steed
Flew lightly along the dew-spangled mead ;
But never again came that knight, and no more
Wears the maiden the smile which that ev'ning she wore.
She weeps not, bat looks from her lattice all day.
On the road where the cavalier wended his way ;
In vain her heart throbs, or her bosom may burn.
That knight and those blisses will never return.
*-.
i
■i
#£.
64
^.X.'V-..^.
Under tJie Greenwood Tree,
~| Andante.
±^
Dr. Arne.
$
S
a
-l>Wi
Flauto.
^g=F~rnMtittag
a=rf-^
a
pjgBEgp
T^
T=^-
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=^
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p
Me
y. »
1
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m
i^s
1 r 1
-=t— F-
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1^
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p-r
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— ^
Under the greenwood tree.Who loves to lie with ine.
*y\ f ' r ' If T'-i-^
■^
-^-
±-r^
JL : —% — 1—
^^^^^^
And tune his merry note liis mer-ry mer-ry
m
^^.
^ — F-^
£
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i-r--i-
ftftf-f iTIT ^ I iM
1^
^
• ^ » •
f¥-P-
note Un-to the sweet bird's throat? And tune hi«/
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^
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-tip • r
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mer-ry note Un - to the sweet bird's throat, Com«
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b ^^
ri
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-[rl ■ r-1 ■ +-|g-^-F-
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t
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hither.
hi-lher, Come hither, come hither, come
ff
i
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-bb
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hi - ther, come hither, come hither, come hither.
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kff\ fpP^
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fi
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liil?
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Here shall he see no e - nc-niy But Win-ter and rough
A.
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t—r
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,b 1 44 444
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wea-ther
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Here shall he see no e-ne-my But
a; ^ J] ffl r^
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88
"•#•#•
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m
m
ex
Winter and rough weather.
Here shall he ste no "^
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3
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i
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^
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p^
e-ne-my But Win - ter.
But
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Winter and rough weather,rough w€ather,ButWinter and rough
^^*
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^=¥=^
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fi
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greenwood tree, Who loves to lie with me,
^5
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i
J tnno lii« inorrv nrtto ITnti^ tho
i=±fz±::
tune his merry note. Unto the sweet bird's throat ? And
^^^=¥=^
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/in
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s
t
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^^^
if
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tune his nierrv note un - to the sweet bird's throat ' Come
=f
T
m
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1
-^^_fi_^.
-=\ — F-^
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^ ^
H= — =^
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^^^^^m
hitber,come hither,come hither,come hither come hither,come
rtUrgig^
91
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P
W~iW
p=*
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4 — ^
W \^
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hitber, come hither.
^jJif ^ riff^^
m
No. WW.
Oh I come to the Tomb,
THE WORDS WRIT! EN BY MISS MARY LEMAN REDE.
[Air— -OA/ breathe not his Nanu^^
Andante.
i*iiM|-*^l-
A .^ - fc
i
3:
g
==?f^
TTT
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t/r , iT
Oh!
f^-y-F-
frrJc^i^Tr
# • # 3t
come to the tomb,where this form Bhail be laid. Where no
^ii
^
■f r r
tt=t^r:je
EO^
ife^
-#. A.
^s
m
tens
*=3
cttsftf^
woes shall mo-lest it, no cold ones ap-braid. And
— . ■_- _-■.-.. . - ^< ,
^
^3E2
'^-i rf-
S-^
ta=tf^C:
4-J
^
— fC t
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e^et
give, fond-Iy give^ there a ,'w&i'in tear or twOj,; For the
fe:4^^^
5=af
-:=^.
P-:
— H
^=f:
f r,. -,:,> f iTitt P f'onB So:s jTpr.it ,';i«£ ifii/\
^m
^"■I'.rw
£
^
ii-i f.z±
heart that has shed more than mil - lions for you.
f^==f
^
-#- ^ — 1- -a- — t-
^^^
Gild my tomb with the smile that in life I ador'd.
Which often has life to my bosom restor'd ;
But, oh ! let its sunbeam be blended with dew.
As my last look will be when it lingers on you.
Then turn to the world, to its shadow or glare.
And ask, has it got such a friend for you there, —
So fondly adoring, so ardently true, —
So madly devoted, as I was to you ?
Then come to the tomb where these relics recline.
The spirit has fled, but despise not the shrine.
And remember that nothing but death could subdue
The light of that shrine that burn'd only for you.
^1-
■{
<)5
,ui>i. j.ijbJVu'.
Fair Clora.
A DUET FOR TWO VOICES.
Dr. Havdn.
:Sj
^^m
E
-ub
As I saw fair Clo ---_-.. la
an
^^
i — #
"\j^f^ —
As I saw fair Clo - ra
■^
^FP'»^.P
HIPE
^— e
SEJ
L^
"'' 7 ^alk a - lone, \ The fea
r'P
>i
•
mt9
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t
>•
p —
^M_-J — d—
— ■-
--.-
--.-
walk a .-_;
L_^ — J
he
fea
L
-
-
- -
-
^r^ffr- ^1'' i
ther'd snow came soft - ly down, soft - ly
1
i*»ffff
m
- ther'd snow came soft - ly down,.
£
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down, soft-ly down, softly down, soft-ly down, came soft - ly
m:
:> IP
m
-P-F-
sofMv down.
soft-ly down, came soft - ly
^^m
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i
soft - ly, soft - ly down. As Jove descending, de-
^
9>- (ji;;;^"
e£
Itrt^-H
d-^.
soft - ly sort - ly down.
As Jove de-
^
m
«P^:
a^^^^-^s^
scend - ing from his tow'r. To court
J Jl^«J
OES::!
m
scend - ing from his tow'r. To court her
^-^
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m
^ — P — :r
m
• - her in a sil - ver show'r, as Jove de - scend
^
sil - ver show'r, as Jove de - scend r
^^m
2C:
ei
ing from his tow'r. To court her, to court
^
fe
-f^-f^
^^
ing from his tow'r.
To court
9"
IZ
-1 K-T — j
1^
lg — I liT
her in a sil - ver show'r. The
mnujV^^^^m
^^
her in a sil - ver show'r.
• •• 0
^
^m
,-t=&«:
e^
wan - ton snow flew to her breast as lit-tle lit - tie «
;):» r n TT^r^rFr^
M
-F-^
m
The wan • ton snow flew to her breast as lit-tle
r-Tf|l[.l^[.±J^
I
birds in - to their nest. But be-ing o'ercoine with
BE
Mff^
i
# ' £
birds in - to their nest. But be-ing o'ercbme with
^^iiig^gS
^whiteness there, for grief dissolv'd' for grief dis-solv'd in- *
«■>'
rM
P^rr
i
^^
4' ^4 i
'.'., whiteness there, for grief dis-solv'd, for grief dis-solv'd in
to a tear. Thence fall - ing
f?t^j?i^g
gar - ments hem, to deck
ei
i
To deck
gar-ments hem.
r«I~'^~-^fcc'
s^
— e-
^
^-p
i:
her
froze, froze, froze, in-
^^f^Frfi"^^-P-Pt--Fp
I
her froze, froze, froze, in-
ss^fegg^g
s^
-e-^
to a tear.
The wan - ton snow flew
a^3
m
■f-^-
P P^p^ p
-e-^
to a tear.
Tlie wan - ton
9d
!^^
^gSipl
to ber breast as lit-tle lit-tle birds in - to tbeir nest.
^8 f r7^
M
lEz:
:&
i
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snow flew to her breast as little birds in - to their n^st.
i
£
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^ 1
6^
But be-ing overcome with whiteness there, for grief dis> /
SI
E^Crrr[irrf73
^^
But be-ing o'ercome with whiteness there, for grief dis-
/5>
i
^-^
#-^
4 — #
solv'd for grief dis-solv'd in - to a tear.
i^QTgy^
^ —
i
m
soU'd, for grief dissolved io - to a tear.
-•: <u-
.^]
f^_.
100
Green grow the JRcishes, , O !
Vivace ma non troppo.
.wl> "bh;* TcJ ^-rradt tizya^lldw ifJhr 3moj<xd'o X"
There's
" ' 0 " I ^*^ — '4
i^zizzt
Iff J tt»4yn jJiil'f/ dii-''' •^fmt.-jit'o j^ai-dtt tu'\
S — s-
tnrf.ri^Jr.JI
M
^
4 #
pas-ses O, What sig-ni-fies the life o' man An'
S
H h
^^^^^^^
S3
:t-W~W~W
101
Wri^TJJE
'twere not for the las - ses, O ! Green grow the
Sg=^4-j?4¥P^
a
^m
i
x=z
■^
^m
E
p — ^
Ifci?
k ^
rash - es, O, Green grow the rash - es O, The
tizSfc
f:--
W¥Ff^
-t Tt
^E?E5
^
^^
— ^
•.,;; i.i> ' , »; ;,v 7 10
^
^^
^-#
sweetest hours that e'er I spent Were spent amang the
^M^^m
^^^^^^1
^^^
,3J& ^WO'il^ Oi-.i.J .vv>AO
-#~# P ^-
■ — W
102
lasseSfO !
-P-^
i
The -warry race may riches chase.
An' riches still may flee them, O !
An' tbo' at last they catch *em fast.
Their hearts can ne'er enjoy them, O !
Chos. Green grow, &c.
Bargi*e me a canny hour at e'en.
My arms about my dearie, O !
An' warl'y cares an' warl'y men
May a' gae tapsailteerie, O. ' " "'
Chos, Green grow, &c.
For you sae douse ye sneer at this,
Ye're nought but senseless asses, O !
The wisest man the warl' e'er saw.
He dearly lov'd the lasses, O.
Cho$. Green grow, &c.*^ —
4iu«wi U-.
Auld Nature swears,, the lovely dears'
Her noblest work she classes, O !. .^
Her 'prentice ban' she Iry'd on man,^
An' tb«n she made the lasses, O.
CA(v. Green grow, &c.
103
NO. rr*
^7<r~^
>i .^^ni'^iiif odi uiMii O/I
OA / never more.
THE wSSDS -WRITTEN BY WILI JAM LEMAN REDE.
-v^— ';
fVith Feeling.
±
[Air — The Harp that once.
m\mmm^^^m
-»i[:-'
S^B5
m
sitsr^"^^^^
''V
B
bl) d +
?
s
feZ3Z-fc
ne-Tcr more up-on this heart The sun of joy will glow.
104
b . I 'p • > f P w'Zpi
^
-"f~3-W»-
^m
fc*
No more the pitying tear shall start For mine or other's woe.
■jgK^ IP* • 'f^—' p. -»-,— I . •
— -The source of smiles and tears is dry. And feel-ing%
51 1^. f—^"=m
s
E^==^3
«:
p^
<8V
:-TtlH I
^=f=F=F=5=
h ex i;- [ I- c
font is o'er, There's no-thing now can meet my eye <5n
105
^^sf+fntnEm
The blandishments of life that lit
My hopes when youth was wild.
Have vanished ; would they'd lingerVl yet,
And I was still a child !
Oh ! for those happy hours of peace.
When trifles gave delight,
Ere Sorrow bid those raptures cease,
Or Malice brought h€r blight.
Those joys I never more must know.
But mem'ry pictures yet
The blisses that I must forego,
^ But never can forget.
~tHope flutters still within Us dm.
And cools my burning brain ;
mUn dreams my bosom still will barn,—
~~- '—UMid echo joy again.
'iW-ain L>
i
fn.'ii yiiii.uU
106
O! who has seen the Miller s Wife ? ^'*
A aLES FOR THREE VOICES.
. Moderato.
Rkevb.
m
t
^s
F-M--
-^-
O, who has seen the iniHer's wife ? I, I, I,
U
"% r
-f^-
:;-:Tr:zrr~
I, I.
^EE:
^;^'^JJJ^^^
and kindled up new strife, and kindled up new strife,
and kindled up new strife, and kindled up new strife.
I
#-#■■#-•#
s^
and kin-died up new strife, and kindled up new strife ; A
^
^
Si
d-r--z: — r — ^
shilling from her palm I took Ere on the cross lines I could
io/
I, 1. I, in
P
ii * Jl ^ J j-^T r-y
-F-f^
Who has the tanner's daughter seen^ I, I, in
m
^
look.
::!z:i:iinit i
'»s.tH«i* - «iU *a l»il <fHi* cloit-/
TT^
»' - "
|-
I — 1
^— ~i
r—
•
Ai
p ,1 .
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f r
F-
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1 1
1'
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,
i;f III II-
qaest of her have been, in quest of her have been, .
■ft
....
1
x^
i p r
p
m
V .. p ■
(\i
r r
VV.
quest of her have been, in quest of her have been,
S
* » # #
^
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lH--F-^
quest of her have been, in quest of her have been ; But
^
^
m
-im
s
xs:
P=5
>ij ^ as the tan-ner was with-in 'twas hard to 'scape him in
i
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qp:
- 108
p »
-A-JL
-# — P-
»• #
-Tx. ;
■# — ^
But as the tanner -was^within^ •'twas hard to
iPF^Ff
jFT-y
# — ^■
im
# — ^
But a3 the tanner was witbin/twas hard to
;): \lrT\n'[-fTn±£
prrr
whole skin. But as the tanner was within 'twas hard to
OF
P"
.
1 '
■""
o
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X r
fr
-> -H ■
i ^"1
llV
-^ 1"
^
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\j;
t
'scape him ir
...
i whole sk
in, 'Twas hard to 'scap
e him in
■
■ 1
1
Y
f-
r
1 r-
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-, p 1
lA^
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r
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c
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'scape him in whole skin, 'Twas hard to 'scape him in
;):TTir rfTT^Tip pi j j
'scape him in whole skin, 'Twas hard to 'scape him in
luS
r H 1
-F =h
whole skin.
i
F~?
■m:
^
I
K^:iij
whole skin. From ev'- ry place con-demn'd to
T-XT
^^^
1
^f c
0-^-
whole ' skin.
From ev'- ry place cen-demn'd to
s
r-^
109
-f^-^T F-
-rur.
These branches form our
i
aiFP^
roam, In ev'ry place we seek a home,These branches form our
b i K- M ... 1— « X h
m
^^P^4^^
dff
y~— :i
roam. In ev'-ry place we seek a home.These branches form our
ts±im
m
p — ^
m
Summer roof. By thick grown leaves made weather proof. In
Summer roof. By thick grown leaves made weather proof. In
m
# # .# 3E
i
:f uiu-»'
Summer roof. By thick grown leaves made weather proof. In
jtJ*- #■■#— t
^m
t±
t
BZieZK
shel'tring nooks and l^ollow ways. We cheerly pass our Winter !
1 St — I h 1 P N-
3
sheVtring nooks and hollow ways. We cheerly pass our Winter
F~y
^^^m
i_.
shel'tring nooks and bol-low ways. We cheerly pass our Winter
110
^
cca [irrr-i^
r^tTw
^ U L-
days. Come cir-cle round the gipsies' fire. Come cir-cle round
i
m
days.
Come cir-cle round
m
-F-=h
■zziyri
days.
' ' ^ ,,r—
$
\
the gipsies' fire, Come cir-cle round the gipsies' fire. Our songs
the gipsies' fire. Come cir-cle round the gipsies' fire. Our songs
m
^^^
w — w
gr~g
Come cir'cle round the gipsies' fire, Our songs
^s
a
y-f-Cteing^
— t^— 1_
our sto-ries ne - ver tire. Our songs our sto-ries ne - ver
^
tZZK
^i^tiu-m^
our sto - ries ne - ver lire. Our songs our stories ne - ver
$m
m
W^Jf.
#^-
*=:^:
i
w~
:c:
WZSL
y—4
our sto - ries ne - ver tire. Our songs our stories ne - ver
Ill
tire. ne-ver tire. Come stain your cheek with nirt or
^5p^-tfM
tire. ne - ver tire.
m
f^m
5
tire. ne - ver tire.
# |.#
li^
C^i I ^"£~^
F=^
berry, Come stain your cheek with nut or berry, Come stain your
i
¥=^M PI [>=?►
E^a3TrT.TtrT^
Come stain your cheek with nut or berry,Come slaiii your
^t:
M
i^lz-^.
Come stain your
^uita^^
w—^
WZSL
k-^
cheek with nut or ber-ry. You'll find the gipsies' life is rnerry,
cheek with nut or berry. You'll find the gipsies' life is merry.
nrf-f-tf-ftf-H
fe=K=Br
check with nut or ber-ry. You'll find the gipsies' life is merry.
112
You'll find the gipsies merry, merry, merry. You'll find the gipsies
,m
=iElA^jZC^g=:faE±|3=jij^
You'll find the gipsies merry, merry, merry. You'll find the gipsies
3E
?
*PP
I^=e
You'll find the gipsies merry, mer-ry, merry, You'll find the gipsies
lEZIE
i
S—Sx
fcy=i=
m
4 — 4-
merry, merry, merry, You'll find the gipsies' life is mer-ry.
i
s-s
w — tn^-
S- — Fs — S-
i
#-#
■^
^ ^ ~^ . . . .
merry, merry, merry. You'll find the gip-sies' life is merry.
315
rzrr7~g
PS^s
,SfeE^
KJ
k__b:
merry, merry, merry, You'll find the gipsies' life is mer-ry.
^
P
^— t-
— ba—k-
Come stain your cheek with nut oi ber-ry, You'.l di d the gipsies*
^3F-[-rti
^P^^^^^
Come stain your cheek with nut or ber-ry, Y.- 'II find the gipsies'
'HP
E
Come
Come • -,,^,
113
ii=6^p^iippgp
ii
JCI
k--E=^Kl
life is merfy. Come stain your cheek with nut and ber - ry
^P
life is merry.
1
c*.
if^
$
Come stain your cheek wilh nut or ber - ry, Come stain your
. ft
^^^m
» I #
I
Come stain your cheek with nut or ber-ry. Come slain your
BE
M
Come stain your
JT^E^^K^^^^Eligp
cheek with nut or ber-ry. You'll find the gipsies' life is merry.
III
WZnj.ZMZZMZ'JfZI
--b — ^ — ^
zreiie
p—p-
^— i^
^m
cheek with nut or berry, You'll find the gipsies' life is merry.
^^^^m^
cheek with nut or ber-ry. You'll find the gipsies' life is merry.
114
^m
-^-»-Mr
■6*-<-
i
^
You'll find the gipsies merry, merry, merry. You'll find the gipsies
gET ^ #
ezzi:
^^
i
You'll find the gipsies merry, merry, merry, You'll find the gipsies
^^
irrr:-g-y-y-#
l=M-tTTT
g-P-g-g^-
KZK
^._ltf_>
You'll find the gipsies merry, mer-ry, merry. You'll find the gipsies
r-rt
g
f — ^ — ^ — p — ^—p — ^
k — k
mer-ry, met - ry, mer - ry, You'll find the gip-sies* life is
^^^^^^^^4^U-^
mer-ry, mer-ry, mer-ry. You'll find the gip-sies' life is
1 irz.¥r-y. — ¥ — > . _:
y — y~"y ».: # -»— g
]¥ \¥ }^ \^ ■ j^
mer-ry, mer - ry, mer-ry, You'll find the gipsies' life is
^^
mer-ry.
m0s-
mer-ry.
^^
mer-ry.
THE WORDS WRnTEN BY WILLIAM LEMAN REDE.
Solemn. _ [Air — Rich and rare were the Gems she wwre.
S:
I
^
fcp^
H — f-
H 1-
^'^
*-^-:r-
7' ^
^i
m
Deep o'er Al - va's
±±i
iii±:
P^ititip:
B^
r
-© —
i ^
i I
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i
fcprrC
^
w:.:
m^m
tow - er falls The gloom of night, the an - cient
i^^
— -gt-J .ii ^ L
s
i -r- r
^
^
■f= — F-
f
?E-^
UG
^^P^l
-0-^
walls Are dark as death ; the sen - try's care
-U r 1 l-T-H !^— H~^-T^ 0~
■^
—\
i
.«:
i
na:
e — •
"O — *
si - lent all. For death is theie,The last of Al - va's
t-H-i-
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-+r
H h-
r±«
:^*-
is
Srgr-o— *— o
-d— #-
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fce
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d JL
w--y
lof - ty line [s laid with - in the con - vent
^^T^
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f
■M *-■€ — -J J-H ■*,
.!±_it_2 , _p " ._i
n
H?^fl
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shrine.
t^n —
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.--5-
Alva ! peace is not for thee.
Thy splendid turrets yonder see.
Thy wide domains are fair to view ;
Thou hast no child to give them to ;
And thou art old, and sorrow here.
With none to dry thy bitter tear.
False thou wert in love, and now
Thou reap'st the guerdon of thy vow j
Days shall rise, and suns shall glow.
But pleasure thou wilt never know;
More wretched than thy meanest slave.
Thy only hope is in the grave.
118
Let us haste to Kelvin Grove, honny Lassie, O !
A FAVORITE SCOTCH BALLAD,
INTRODUCED BY Mb. BRAHAM, IN GUY MANNERING.
feEE^33BS
— *-4-4^
i-^
tr r r ■■■
~-^\ I m
Let us haste to Kelvin
(fc fr -f ±.
Bz
■i h
119
m
trf|-hznsT±:
w~~w
^^
^
grove bon-ny lassie, 0! Through its ma-zes let us rove,
fcfi
m
^
^S
:^
fc
i^
f \ LJ f> ~
EE
# — ^
^
s
. f I f • ^-P
i
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I
^ ' 1^ g* fat
bon-ny lassie, O ! Where the rose in all its pridePaints the
1-
rnijij '-rm
rt
a=a
35
i
<T»
S
^--P^
♦— #
±t
f!\
i
ter
^
P^P^
e=
hollow dingle side, Where ihe midnight fairies glide, bonny
fi
^5
^^Et
a\
^=3=
#^£
^^1
120
lassie, 0! We will wander to the mill, bonny lassie,0. To the
fe-
¥=?=;
w
p—p-
■^ZWZ^-JL.
i
cove beside the rill, bonny lassie,0,Where the glens rebound the
P^Tf,
i — I — I-
■4=i:
^
Si
3=ii
¥^
W=^
i=3^
i=¥
■4i~
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call Of the lof-ty water-fall. Thro' the mountain's rocky
±t
i
U4sJ cj|g^
r?k
^t
5
F-^
—I-
121
h-n-^-M-
fci
yTT
ppfe^
ball, bon-ny las-sie, O ! Thro' the mountain's rocky ball
b-4
H h
^
fc^ J N i"-* — Ez
s
m
6-H
*~3 J'*tq»
=*=3=*
trt-1S
■4— f-
tefvfrFgE
S
±±
t=i=*
bon-ny las-sie, O.
Then we'll up to yonder glade, bonny lassie, O ',
Where so oft beneath the shade, bonny lassie, O !
With the songsters in the grove, we have told our tale of love.
And have sportive garlands wove, bonny lassie, O !
Ah I I soon must bid adieu, bonny lassie 0 !
To this fairy scene and you, bonny lassie, O !
To the streamlet winding clear, to the fragrant scented bri'r
E'en to thee of all most dear, bonny lassie, O !
For the frowns of fortune lour, bonny lassie, O !
On thy lover at this hour, bonny lassie, O !
Ere the golden orb of day wake the warblers on the spray, '-'^ t
From this land I must away, bonny lassie, O ! | I
And when on a distant shore, bonny lassie, O ! /
Should I fall midst battle's roar, bonny lassie, O ! '
Wilt thou, Julia, when you hear of thy lover on his bier.
To his mem'ry drop a tear, bonny lassie, O !
122
N0,'F3EI.
' In Griefs and in Dangers.
THE WORDS WRITIEN BY WILLIAM LEMAN REDE.
[Air— TAe last Rose of Summer.
■-rrShi-^
^
I^es
-rv#?
I N griefs and in dangers. At land and at.
9«:
u
n^-
■■€ 9-
^^
*t:a^
"• — ^
^i«S
^
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IE
123
-rrn^:
?iti:
3SS
lEfeE
IE
^g
sea. Midst pleasures and strangers. My soul vas
««
55S
P
«i:
5=3?
ms.
stt
^
l5i:=R
y^m
-F— #
nif ff'..ij
S
with thee. Whilst thou with thy kindred. At peace
««<
BB
i
wt
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fc
3m
^
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♦r
and at home. Taught thy fan-cy to wan-d«r
H
'jEiaaa
• ^ ' «-
W I ^
^5-*
^5E^3
^s
^
132:
Trf«
1-24
^m
-SiSi.
'^-j-d-
Thy wish - es to roam.
■»»i
^SBggl^
^ ^^*^ s
^^4^
t^
CP
=«5=fz=:
Whilst I sufFer'd capture,
WrongM wounded, oppress'd.
Thy heart beat with rapture
To Netherville's breast.
In my wants and my sorrows,
I fear'd thou should'st mourn ;
And my heart was distressed
Lest thine should be torn.
The' false friends have decried thee,
I join not their hate ;
Tho* the world may deride thee,
I pity thy fate,
I know thou hast wrong'd me —
Will ne'er be my own ;
But I feel that I love thee,
And love thee alone !
126
O Loffie O' Buchan.
A FAVORITE SCOTCH AIR, ARRANGED AS A DUET.
Grazioso.
'^^^m
m=.
=t
1 — w
m 4
i—k
fcfz::
r 'r 'i
^g^
f J r
m
£^ae*
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^SE^E^
Lo-gie O' Buehan, O Lo-gie the laird.They've taen a-wa'
^
i fr^u
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4~L.^
Lo-gie O' Buehan, O Lo-gie the laird,They'vetaen a-wa'
m
aza:
f
^^i
#:;-# 1,
126
E
S
t
Jamie lliat delv'd in the yard. Wlia play'd on the pipe
i^S^i^
Jamie that dehM in the yard. Wha play d ©n the pipe
r-c
S^&^^
m
m i-
ir^m
f
i
f \ f' f f\^P '7-7
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and the vi-ol sae sma' They've taen a-wa' Ja-mie the
— r^ Ni -. 1
t=JL
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¥-ry
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and the vi-ol sae sma' They've taen a-wa' Ja-mie the
m
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tii
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flow'r o' them a' He said. Think na lang, lassie, tho'
^jjQimTn
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♦-^#
flow'r o' them a*. He said, Think na lang, lassie, tho'
I ^ j3
i
r^f
127
»7
ZZSII
^^^
w-y
W I J «M
^-#
I gang a - wa* For I'll come & see you in spite of them
f ^ i h J ''J.T
#— ^
I gang a - wa' For I'll come & see you in spite of them
m
4 9 4
f
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/..yf/irti'iffrg^rrfflpi
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s-t —
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Sandy has onsen, has gear, and has kye,
A house and a haddin, and siller forby ;
But Pd tak' my ain lad vi' his staff in his hand.
Before I'd hae him vi' his houses and land.
He said, ' Think na lang, lassie,' &c.
My daddy looks sulky, my minny looks sour,
They frown upon Jamie because he is poor ;
Tho' I like them as weel as a daughter should do.
They're nae half sae dear to me, Jamie, as you.
He said, &c.
I sit on my creepie and spin at my wheel.
And think on the laddie that likes me sae weel ;
He had but ae saxpence, he brak' it in twa.
And he gied me the ha'f o't when he gaed awa'.
Then haste ye back, Jamie, and bide na' awa*,
Then haste ye back, Jamie, and bide na'awa'.
The simmer is coming, cauld winter's awa'.
And ye'll come and see me in spite o' them a'.
128
The Rose had been wasKd.
Larghetto,
Webbe,
^^m
P-LG-t
B=P
The rose had been washM just wash'd in a
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show'r that Ma - ry to An-na con - vey'd. The plen-ti-ful
^3^^^
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razzzi:
129
i$^-
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moisture encumber'd the flow'r & weigh'd down its beautiful
asS^g^i^i
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tl:
is
^— ^
i
gj^gp^^
s
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head. The cup was all fill'd and the leaves were all wet,
n^^
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And it seciii'dto a fan-ci - ful view. To weep for the
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buds it had left with regret On the flourishing bushwhere it
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grew.
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Andante.
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I has - ti - ly seiz'd it, Un-fit as it was
Minore.
131
fP
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for a nosegay so dripping and drown'd. And swinging it
US
5i=«^
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^
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j—J-Hfg-* • "*-<
p^
rudely, too rudely, a - las ! I snapp'd it ! it fell to the
m^
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17
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Larghttto.
m
mmti
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ground
e--
And such, 1 exclaim'd is the
=Trrtzni5s==T:^3=
m
ri=rfffe
i^^^^
{ pi-ti-less p«it some act by the de - li-cate mind^ Re-
^^^^
132
^,»-
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s
i\
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Lj
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1
•
gg
pxq:gq
f
sor-row re - sign'd. This e - le-gant rose had I sba-ken it
SS-H
less. Might have blooin'd with its owner a - while ; And the
s«-
7
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55=±r^
ggg^
^^^gi
188]
^5^
ps^
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^
tear that is vrip'd with a lit - tie address. May be fol-low'd
i
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3
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i
a\
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-i= — F-
MB
i
rr>
u^
i
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per-haps with ' a smile
>S«'
H — I--W1
gSf-4-ftjEM
l3i?
63
I
* ' # I
A-i-JL
L
^^
■#■'■■#■
' — I — — —
1S4
No. Vrm.
When the Dave left tfte Ark.
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
Lmrghetto.
[Air — Believe me if all those, tfc
^
P=t
i^
^
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^ — =^-
*5
^gte
SE
ii
^-T
^—d
When the
^^
?
Ml-Ti ..
P
Bz:diz3Z3
i
r-f-y?
^
I
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I
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dove lel't Ihe ark o'er the wa-ler-wheImM world, To flutter her
jEE^S^
---^ =^-
^
m
135
M
5=5zi
s
r-is—s:
:w—t
i
■ 1^*
tremulous vav.
How soon she return'd, for the
m
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s
i^
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1?Ez:
^^
m
p — p-
t
5s=Kz:^
I
-*-v
blue wave had curl'd O'er all and de - nied her a spray.
rr^-j^-nizip
*^r
rv-f^
53
m
^^
^
# — ^
Fte=^
^ — ^
It is thus when my flight for a moment I mark. Dear
I
t> r 1
tP^TlT
3^
±=r—r-
^^
136
■^T — ^•
source of my plea-sures, from thee.
^1
I re-
i^
H 1-
3
53^J
-^7 =? -=h
^
3^
iiS
P
w^T^m
0 — ^
?— ^
turn to thy breast as the dove to the ark. For the
s
i
H ^
^
~i
3^
:i*r::
S;
^
^-^ — P-T-N
m
^ — =i — ^.
=g:
^^-^
-^
world holds no o - ther for
$^=i^=^^Em~Zii ^
* *
^
■— ^
i^i
137
i
-<* — =h
m
?
1
^-f^-=H
-F-=l F-
P
f
s
i
ih-r
—I — u
^
i
§
Bui the dove at last fled to the grove's sylvan shade.
Forsaking the ark j'ou will say ;
But was it not Nature whose call she obey'd ;
And how could the flutt'rer stay ?
I shall yet quit this breast, where each warm virtue springs.
That to me ev'ry pleasure has giv'n ;
But, oh ! it will be on eternity's wings—
I shall fly from your bosom to heav'n.
138
I^ist May a hraw Wooer cam' down the lang Glen.
A FAVOIIITE SCOTCH SONG.
THE WORDS WRITTEN BY ROBERT BURNS.
Liteltf.
mmm^m^
«■ J- V
% J'*^ "1T"1 IT "11
R3=P=f
___ii U 1 U 1 U 1 L^
# .J.
^
Last
^i#feg
tt±5zt5
;j?fcttff:ff£±f
Kt-k
m
« — 4~ -4
May, a braw wooer cam' down the lang glen,And sair v'l' his
m
i^^ri^?^
139
love he did deave me I said there was no-thing I
^^^m
mi
^JifFg^F^
^m
Nt
^^
S Jr
4 -4
ha - ted liice men. The deuce gae wi' him to be-lieve me
-• ^
f~F
<s\
m:
M ^
i
U fr K — h — K
g^ps^
S r
4 4,4 — 4
I
believe me. The deuce gae wi' him to be - lieve me
h-T — !
i
-I 1-
£
i
i f '^^
ag
t
^
5^
140
i;-:::
He spak o' the darts in my bonnie black e'en.
And vow'd for my love he was dying ;
1 said he mighl die when he liked for Jean.
The lord forgi'e me for lying, for lying.
The lord forgi'e me for lying.
A weel stocked mailin, himsel' for the laird,
And marriage aff hand were his proffers ;
I never loot on that I kend it or car'd,
But thought I might hae waur offers, waur offers.
But thought I might hae waur offers.
But what wad ye think ? in a fortnight or less.
The de'il tak' his taste to gae near her.
He up the lang loan to my black cousin Bess ;
Guess ye how, the jad ! I could bear her, could bear
Guess ye how, the jad ! I could bear her.
But a' the niest week, as I petted wi' care,
I gaed to the tryste o' Dalgariiock,
And wha but my fine fickle lover was there :
I glowr'd as I'd seen a warlock, a warlock,
I glowr'd as I'd seen a warlock.
But owre my left shouther I ga'e him a blink,
Leest neebours might say I was saucy :
My wooer he caper'd as he'd been in drink.
And vow'd I was his dear lassie, dear lassie.
And vow'd I was his dear lassie.
I spier'd for my cousin fu' coulhy and sweet.
If she had recover'd her hearing.
And how her new shoon fit her auld shachl't feet ;
But heav'ns ! how he fell a-swearing, a-swearing,
But, heav'ns ! how he fell a-swearing.
He begg'd for gude-sake ! I wad be his wife.
Or else I wad kill him wi' sorrow :
So e'en to preserve the poor body in life,
I think I maun wed him to-morrow, to-morrow,
I think I maun wed him to-morrow.
her
i4i
TsUciX.
Forgive the Muse tJiat slumbered.
THE WORDS WRHTEN BY MISS M. LEMAN REDE.
Allegretto. [Air— /'(( mourn the hopes tfe.
m.
5
^^
!^tt=±
^^^
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For - give the mase that slurn-ber'd Up-on tliy dear lliy
g^z^-F— frz^l^^
^
142
i
^
na - tal day. Nor think that 'tis un-nuin-ber'd a-
>8tt-
H^^iim^
mong the first that claim her lay, And though she
S£
^a
fen-p4
^ ^ • ^
^
^ -^
wants the fragrance of glow-ing fancy's beam di-vine, Af-
f=^=|C
S^^
tj--^
« U •*
#^-^
■M LmJ Oi
m
^^iks
-fs r
fection's flow'rs of fragrance, A-ronnd her humble harp en-
%
■4 #-
^£
SC
^
^
twine.
^saiftpaj^p^ps
ii^^p^i
^^M
j^sp
( *S.UPt-M4ti
Those flowers have been shaded
fiy cypress boughs from sunny skies.
Yet still they bloom unfaded,
Though adverse winds around them rise.
Though sorrow's tears oft dew them.
Bright joy shall shake them off to-day.
As thou, if thou couldst view them
With smiles would kiss them all away.
144
The Banks of the Yarrow.
A FAVORITE GLEE.
Moderate.
Dh. Callcott.
'-»»nB
i
WZIf.
i
Jti_*
# — ^
5=^^*1^
P g
i
While the moon-beams all bright give a lus - tre to
^^■^-f> b-T 1 1 l-T S ^
mW
m
i
4-^^^v-^
e — 4 , 4
While the moon-beams all bright give a lus - tre to
^5i^
^tti^gipipp^-fp^
4 — • 4
While the moon-beams all bright give a lus - tre to ;
i
9»--i
i
^=3
:«i
g — r
•^'-f-
night, I'll weep on his dwell - ing so narrow. And
^
■ai- ,1 J I J. J J I'
^
4-^-4
night, I'll weep on his dwell - ing so narrow. And
■ttS
i
^
K=3t8
night, I'll weep on his dwell - ing so narrow, And
145
r-^^?
n^0 0 0
f
^r— ^
^i H
fc
high o'er his grave, the wil - low trees wave, Who died
^
i
—4
P-z — ^
S
^
tjo ^\S
hiijh o'er his grave, the wii-low trees wave, AVho died
^^^
P ■§"
P P-
e
high o'er his grave, the fiW - low trees wave. Who died
PX[.\\ iJi^^-f^i^ip
on the banks of the Yar - row. 'Twas un - der
rif'tpN \hum
4 #
on the banks of the Yar -row. 'Twas un-der
^5ifcJ-hy-i
^m
lai
WZ-X.
4 — ^ '11-
on the banks of the Yar-row. TTwas. un - der
I
A
^
tti:
^
I
MZrOE
this shade, hand in hand as we strayed, 'Twas
i
«»:
a
«i:
t^izijt;^
this shade, hand in hand as we stray'd, 'Twas
aiofoff
-^
I
fcterfe
:«
this shade, in hand as we slray'd, 'Twas
\4C>
m
•fe*
* f i
^^
Hsih-
±=^iSi
i
un - der this shade hand in hand as we stray 'd*
j|tt^ -; I III ^ 1^1- ■>>
Sti:
-d*-^^
CTP
ttzii
un - der this shade hand in hand as we struy'd
SiSft
^»i
tK
m
4 4
un - der this shade in hand as we stray'd.
MiirtfpZii:!
i
rr»
fSi?
he fell by the flight of an ai - row. And fast from
:«?:
la
TrFrEg
f
s
#-^^-#
^5
he fell by the flighj of an ar - row. And fast froifi
^ ^ — '
^
jcr
«t
lZ3t
i
-s-rf
^:
he fell by the flight of an ar - row. And fast from
P
WfTT'f
N-br
f
4 #
*-!#
the wound his blood stain'd the ground,Who died on thQ
i
«?
Jji:
^
N-ifc::
i; ^Ld_Jl
e #
4^4-
the wound his blood stain'd the ground,Who died on the
.^^^1=^
^
the wound bis blood stain'd the ground, Who died on the
147
.-^s5
ttt
-*-r
S
-fs-
-F-^
m
banks of the Yar-row, Who died on the banks of
S
h— Nt — \
4 \.4
±i±±t±bk
3iH
banks of the Yar-row, Who died on the banks of
m
m
Ui;
i •.-*
banks of the Yar-row. Who died on the banks of
i
±
315
s
the Yar - row.
i
flS:
» »
i:
Ihe Yar - row.
148
No. X.
All Venice look'd gay at the Bridal,
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
Allegretto. [Air — Hm Sorrow thy young Days thaded
}n-r
St~s-
i
te^
m
:mz:m
I
bri-dal. And joy sat on ev' ry brow. When love led his
r»gpj T I p pfrf
•#— ^-
g=
149
bosom's young i - dol. To breathe to bright Hy-men her
zzjtir
^^
^-"-^3
f
-P- m-P
t±
i
w*
¥iJ npi
i
P — P
k — ^
vow.
The beau-ti - ful sis-ters at- tend-ed, Like
rj.\\\^\-^^
jEi P' p.:^
■r-?
t^E^^^^^^
^^P
(uro ni«iJ Inn; nioiyifi-i?
N
i
fe^
*' *
i
nymphs on a god-dess a - bove. And hope and de
^^
^
P^^
150
-S — sT--
J J ^
i
t
light were blend - ed. As they view'd her with looks of
Vet she was the brightest of any
Where all beside were bright ;
She rose 'mid the beautiful many
A creature of tenderer light ;
For the softness, almost like sadness.
That shadow 'd her brow serene.
Was sweeter than all the gladness.
That in other eyes were seen.
The bridegroom and train came lightly.
Each his hat and plume in hand ;
And never did bliss beam more brightly
Than it did in that noble band.
Now band in band to the altar.
The young pair advance up the aisle ;
But her step was seen to falter,
And her check to lose its smile.
A terror seem'd o'er her to hover,
> In sighs quick, and low came her breath.
When just at the altar her lover
Caught her cold to his bosom in death.
Oh ! he gaz'd on his bosom's young idol
With anguish too wild for a tear.
And the flowers that were culi'd for her bridal.
Were silently strewn on hei bier
151
Though all may foryet thee,
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
Allegretto.
(
[Air— W^w he who adores tkce.
m
p — P-
^
# — p-
^
i
■«=fi?
TSt:;^
»W * ^^-^^r^ 4 . ^
8
-w
^
•^MM\M^1^^
i
m
■X
#-#
-F-^
Though all may for-
f-r'^^'^/iijjj.-ti-^i
^"^Tg
m
M -#-
^cqjjiJTmii^
152
153
■r — F
^
P^g¥3:
night There is one who bat shared m thy
^ *« ,
— ^e 1 — I r 1 3 — ^ ! ^
I
14^5 ■ =
^^^S^^^
8or - rows a - lone, Who saw. not the tjrave of thy
^=s
s
*=tt
■xf-
■^
m
-f=-f^-
-r-p-i
PS
iffli
I
?
rest; But who sa-crecj-ly ho-nors thespi-rit that's
P
S
-P — !■
S£
B
-F-#-
^
» -r^ — V
■# — F-
-9 F-
^m
i
154
■^-4-
'^i
m
flown. And its shrine is hid deep in her breast.
m
^
e—
^
g<l*tfy*^j=ii
1
m
^
m^
■Xfl
i^
U:
^^
She remembers thy sighs as they breath'd on her ear.
In the accents of sorrow and pain ;
And feels that thy sufF'rings have made thee more deai
Than any will e'er be again.
She would have thee once more with the waste of thy voe.
With feelings of fondness and pride.
But since that is a thought she must ever forego.
She would joy to lay down by thy side.
Then though all may forget thee, who once in the glow
Of thy fortune press'd round with delight ;
Though the grave is forgot where they saw thee laid low.
And bade thee for ever good night.
That one who for thee could resign ev'ry dream.
That from youth and ambition arise.
Will still think on thee here, as her life's dearest beam,
And her beacon of worlds in the skies.
155
* Had J a Cave oh some wild distant Shore.
A DUET.
THE WORDS WRirrEN BY ROBERT BURNS
Andante espressivo.
^m^m^^
rm=
^m
#-=ii^
-4
iS
i-f^
.igrgzi' ;g: i
^m^si^
-^-
^^^^S
^Z3iJEZZZ3
. g
;»p^qFffi^
i
^^
— 1^
Oh ! had I a cave on some wild dis - tant
j^ - II i I i J
I
1===:::?
1=:;
Oh ! had I a cave on some wild dis - tant
^^.
4-T 1 1-
!-t— I 1-
^
^:i^
:^^
ipzzpzrz:^.
^
^
i
i
=ps
ibb
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f=Ff#^^
shore. Where the winds howl to the waves dashing roar.
S 1 —
1
$
i
U
»=S±J§
shore. Where the winds howl to the waves' dashing roar.
i
m
Wo'U I ii^-'\i i ill!
I
1
^ '* I I 1'^
^
g' • .
i
« * *
i
F=F=^
i
a
There would I weep my woes, There seek my lost re-pose.
grm
53-
SII
^T^JTJ
« — •— #
K^zza
There would I weep my woes. There seek my lost re-pose.
1^
-• —
-F-F-
F •_ F »-
■f- — t
r — XJf:
^ — p.
^
a=f:
5^
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157
p=^
±wz: #» f
sfc
1
Till grief my eyes should close. Ne'er to wake more.
^ 1>
^^
i
^4 '*4-\—4^ — 4
Till grief my eyes should close. Ne'er to wake more.
Pi^g^g^^a
i^pjin^
1
Falsest of woman kind, canst thou declare.
All thy fond plighted vows fleeting as air.
To thy new lover hie.
Laugh o*er thy perjury.
Then in thy bosom try
What peace is there
^\
158
The Lover s Lute.
THE WORDS WRITIEN BY MISS M. LEJVIAN REDE.
fruh Expression. [Air— TAe Minstrtl Boy
■^ 6 -4-^
E
^
^^
'■¥■
g
^W^Wf
r 1 1 1 1 r h«ui
I
i^^—'^frtta
S-FTTT
i=a=xi*
* —
Her lo-ver's lute that so of-ten woke With
^^^^B^^^M
4^^ 44-d-^^i- Mi-
ffi
lg^
159
^
f
I
WT.:
te±==*=±±:izz^
thrilling tones to hail her. Met Emma's eje uii
^^WV
■H-^ !-+■
IJ2. p_
Jt±:
-^-¥
m
p ». p
s^iaa
?
tun'd and broke. And it turn'd her pale cheek pa - ler.
i
i
?
i
^-r-
.liC.
Harp of love ! she soft - ly sigh'd.
■ W, f=^-jB F=R m pa =■
35i
160
^^^^^^^^
Thy mas - ter light - ly
flies
thee,
=Sl-T1. ffl.HH^'
w
^i
■J53i
3t
i
ttj
f
J-T-J '^~4^
His heart beats high to war- like pride. Mine on - ly
a.
EI
i
i
jji^
1
rrg
lives to prize thee.
fe^
^
^
se^
ia
-I — I-
m
THF
^-TT-^
P^7f=i?5
^gS
^-fcF^i^ r
f
-F-
Bot yet again, , as ho oft before,
She heard its notes so tender,
When her warrior-youth return*d once more,
His country's best defender.
And sung — " How well is he repaid.
Who from toil of war returning.
Beholds in eyes like thine, sweet maid.
Love's brightest, warmest welcome burning. *
1«1
¥
lake, oh ! take those Lips away.
' "^' A FAVORITE CANZONET.
IJ Allegro Molto
1^ ^^^
#-rr.'grfi&'fr^
Wm. JacJaon.
h
W-^
#T
Take, oh ! take those lips a - way. That so sweet -Jy
kr
l^^rcrriCf^fj
i
N-f=
i;-J-J4--
Take, oh I take those lips, a - way, That so sweet - ly
*=^J
^EiXZZM.
±b^
rniryrtrn^
f— f=-
^ were focswofn. Take, oh ! t^ke those lips a - way.
^fe
-♦v
were forsworn
And thijse eyt^s the
^
fcfc
TIVE
nnc
fw+fccr-foy-
p^f^
162
I
m
^
And those eyes the breaks of day. Lights that do mis-
7fr>r»J
^
r-# — ^
p?*
breaks of day, the breaks of day. Lights that do mis-
TTT
P^^^
^m
?
P-p
t^
±t
^^J'ffiE
m
P~ m, P
^~-M
lead the morn,Iiights that do mis-lead, mis-lead the morn.
i
T¥--p
s^
i:
^^
?zf:if
^-^
=¥
lead the morfi,Lights that do mis-lead, mislead the morn.
SO
##Hb
^m
hL
±±
^
?E?=;f
^
Hr
f
f
Take, oh ! take those lips a - way. But my kis - ses
■\) — I P-. ^ "^ ^
te
Take, oh ! take those lips a - way.
bring a - gain. Seals of love, seals of love, but
* But my kis - ses bring a -gain. Seals of love, but
SE
^ziriEeee
es^
# — p — p-
±fc
¥
seal'd in vain. Take, oh ! take those lips a - way,
-/-fir
F-~P
^
m
■a^
seal'd in, vain. Take, oh ! take those lips a - way.
^^E^^^^
feg^
i
I
ii
f±±
But my kis - ses bring a - gain.
Q)^i^ ^
^^
But my kis - 8«s
^^
=3^^=?=
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f
i
Hi
164
HS^
-4-^-
Take, oh ! take those lips .a -way.
!"!:[•/] I J. JL-j^J^Iil
bringa-gjkin. Take, oh! take those lips a - way, ^i"- j
es
mtm ^ m^g
f-^
H-
'r^Tfzi :- r I ,
J. L...
'.:^^±r" f
^
FfFf
f
s
-i^
Take, oh ! take those lips a - way But my kis - ses
fclZIS
i^
$
i
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Take, oh ! take those lips a - way.
But my
^
#### 'MMMMZ~W-¥
=±idC.
\
^m
S
-^
I
I
^4 •j g
~t»r^. a- -- gain. But jmy! kis r ses bring a - gain, j
f'[\0\rj0m
- kis - ses bring a - gain. Bring oh ! bring again, Sealtf
S
P
-g-t?-
b
165
fefe^
^^^#£t
Seals of love, but seal'd in vain, in
T^Cm 0 ft*
F^
I
t±±
seals of love, bat seal'd in vain, but seal'd in vain, io
^^^^^P^B
^^gl
rain, m vain.
i
i
y • J d
vain, in vain.
,^^^
_ /
166
No. xwau
No more shall I seek in the red Field of Danger.
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
With Expression.
[Air — 'Tis gone and for ever.
P^WW^^
^^mmm
No
S^gili^ai
Pi
^
i^s^
=^^Si^
more shall I seek in the red field of dan ger, The
^^^^^^^^
m
#■ . #
-^—:z-P zr-P—^-p—i
£
£
167
^^jTm^
-J—J--
plian-tom of ho - nor the hopes that be-tray ; 1 will
^S^
jrrn
^=i
-t-^
^E
<t ^ * ^ # ft
^I.M >-U
J .. Jl !■ J
g-HH^Jr^t^
roam like a pil - grim, and ask of the stran-ger. The
p-^ f^r ffUUa rj f3i
^^^nfHf^^
-^ — r
crostand the cnp that vill serve foi the day
For
^^^m^^^m
WM"
W=f^
1 *— i 31
— »-- ^ 4
i
168
I how have. I found all my dar-ings re-cprd-ed. And
nn-y-'f—^^
^-5-
P^^^^ft
how have my life-wounds and love^ been re- ward -ed. And
'^^^f^
T5"
i
■M
S
1^1.
m
^zaE
— ^ —
^^^
KHJ^
where is that one, who had she' bttt ap-plaud-ed. Had
B^^^^
mm
^
E
^-^p
169
m
i
brighten'd in-gra - ti - tude's dreari-est way.
f»5£f?^=»
•»*•
m
— +-
■JtW
i
i
-^ ^ J
^^
#-#
■^
if^'-^JJJI ^_|
^t-i<-^
^
±1-3-^
^
£
^--^
i
That chosen of all — that best beam of my glory.
Who promis'd to hght me to heaven's own shrme.
Has thrown the first blight on the dawn of my story.
And wilher'd the wreath that she taught me to twine
Oh I vain was the hope that she kindled so brightly,"^"
And which rose 'mid the stars that watch'd over me nightly
She has cast off the chain that but fetter'd her lightly.
And left all its weight and its cbillness on me.
No matter ! when years shall have sadden'd her spirits.
And taught her how false is the flatterer's breath.
Sad, deserted, declining, she'll think of my merits.
She'll seek me, perhaps, — she must seek me in death !
She will ask- they will tell her, when hope from life parted.
One heart-burst escap'd, and one burning tear started.
Then silent and lone, I went forth broken hearted.
To seek some lone spot that might serve for a grave
4
170
•^ ^ 1 love to oatch thy radiant Smile,
THE WORDS WRTITEN BY MISS M. LEMAN REDE.
iiM^^i^l^^z^ilz^l^:^^
-I - H =— f— I -—\
- -^■,■•1-
KU \ I . fTV^r'^^^^
3E^
m
F-^
•r -i r-
^3^^^
I love to catch thy
^^^^^B^m
^^
^
tcf
1
-P =^ p ^
171
ra - diant smile. It speaks of so much sweetness.
i^^^^sg^g
3£
f 1 d -^
m ^ m ^
#_s_^
?
!=iC5s=:
JEzzma
Ob ! let it lin - ger yet a - while. Nor mock me
m
n±
^.
9 ^■
m — =^.
f — =^-
i— .
with its fleetness. There is no air which thou caubt
i
S m-
-©--
^^^^^'jr^^^^^w-^
31
jt±±
P^PFP=J-^^^:
/
172
^
^F^=f=^
i
i
P — H-^F-^^^
wear, That bears not pleasure to me ; But most I prize The
EM
Uzst^
f_1 4 1
»• f 1
p 1 p 1
f
=«:
J
*!S
V=?^
§
^^ffiap^s^l
The rosy hour of dawning light.
Which dewy gems encluster.
Boasts not a beam sp warm, so bright.
As that dear eye's own lustre.
Like some fleet ray.
That breaks away
From clouds of fleecy whiteness.
The beam that hid
Beneath thy lid.
Breaks forth all warmth and brightness.
173
Ye Streams that round my Prison creep.
A FAVORITE SONQ, SUNG PY MISS TOVEY IN TUB REVIVED
OPERA OF LODOISKA.
Sempre Piano. —
(^Mvr-^=S
s-
P-^-
JCZM
&
m^^^
W
1
'"15"
^
_L- J--T-»
MU^a-^
i<— i »
Yb streams that round my pri - son
^m
^}
174
-^ — d
-T-9-
^
creep, If on your mos - sy bank you see my
3E
•J « r
ipS^^^^^
gal - lant lo - ver you see my lo - ver stand and
E
anc
^-r
^
:a--^-p— Ifrrg
i^
^^^
»■ r 1-
-J^-f r . ;•
weep. Oh ! mur - mur
oh ! mur - mur.
oh!
m^^m^^m
mur - mur
this com - mand from me
, Thy mis
- tress
' V
« J.
■'
• r
h
^
4
r
r
l^ M
i
4 •
J
^^^E^i
aza
bids thee haste away, thy mistress bids thee haste a-way a - ^
^— #■■
g
J75
mit:£hl^
^:pg:p=t^
way
And shun the broad - ey'd
SZ^"PT:^
watch - ful day.
i^— — ra^--- FJV-"'-V r —
3i
^S
♦~:r
§
F=3I
Ye gales, that love with me to sigh.
If, in your breezy flight, you see
My dear Floreski lingering nigh.
Oh ! whisper this command from me.
Thy mistress bids thee haste away.
And shun the broad-ey'd, watchful day.
176
4
We^ who waruTrinff Arabs are.
A FAVORITE GLEE.
Allegretto
i
j
Stephen Storace.
i^
1N-T
E
fs=p
W-
T-^W-^
We, who wand'ring A - rabs are. Fly from
^
I
^^
•— i
We, who wand'ring A - rabs are. Fly from
iJf^f^-4
1-=^
\-^—4-
We, who wand'ring A - rabs are. Fly from
i
±X
r-H-
f p ^
sorrow, laugh at care. We, who wond'ring A - rabs
i
^:i!!^
g^u^r-^utg
sorrow, laugh at care, We, who wand'ring A -rabs
g^r^i J 1 p ri^^Fri
forrow, laugh at care. We, who wand'ring A-rabs
177
'^^
■^5i| N-
±t£
iS9±zt
^
ps
are. Fly from sor-row laugh at care, let the ;
^EP
1^
3
-§ — r
^
^i *
are. Fly from sor-row laugh at care, let the
^
S
m
L p d • <
ore. Fly from sor-row, laugh at care, let the
notes of love re - sound, and the ru - by cup go
M~»-JJ %[ P jJ~%
^:
a==«9
notes of love re - sound, and the ru - by cup go
^t
p. ^
f:
I
^S=|
notes of love re - sound, and the ru-byjjjcup go
rpTrrrfrif=ffp^
round. Whilst the gale its fra-grauce brings, and the
S
±
^
e-^
^m*^
M
round. Whilst the gale its fr?^-grance brings, and tlie
^fc
i
round
178
!rf"-T^
Sum - mer flow - ret springs, Let the notes of love re - j
^i^
*:
#■-
m
i=
— *> FT
s:
H-' — f-
Sum - mer flow - ret springs. Let the notes of love re - \
3=fc
V---"-
tZ3L
^^
sound. And the ru - by cup go round, While the gale its
I —Q^x P' m Z — fefT ^ ~
sound, And the ru - by cup go round, While the gale its 1
^
P
i3i
I
w.:
==S=C^
fragrance brings, and the Summer flowret springs. We, who
m
g=l=fcB^^'^-^^
fragrance brings, and the Sum-mer flowret springs. We, who
EO:
i
Wc, wli(!
179
*-i?a
waixd'riug A - rabs are. Fly from sor-row, fly from
^
^ p —
wand'ring A - raibs are. Fly from sor-row, fly from
3Efc
e — #
^
wand'ring A - rabs are. Fly from sor - row, fly from
^ ^ P ^U 15»
^
p V 4
f
tiz±
MJL
care. We, wLo wand'ring A - rabs are. Fly from
Si
i
]S : r-iPL
^
nt±
^-4-
care. We, who wand'ring A - rabs are. Fly from
^^
W-±-
— .. .i.
care. We, who wand'ring A - rabs are|, Fly from
^-F-
t
5
P
s U '=
srt
sor-row, fly from care. Who can tell to-mor-row's
^
m
wr~w
I
^— F-
sor-row, fly from care.
Who can tell to-
^-5-#
m
sor-row, fly from ^ care.
Who can tell to-
ISO
ztz
S-iQj-rrr-ti
I
doom. If the rose of life shall bloom, Or, be-
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morrow's doom. If the rose of life shall bloom. Or, be-
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neath the blightning shade. Droop un - time-ly pine and
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neath the blightning shade. Droop un - time-ly, pine and
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neath the blightning shade, Droop un-time-ly, pine and
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■~ — — -fede, W€, who wand'-ring A - rabs are. Fly from
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fa>de, We> who wand'-ring A - rabs are. Fly from
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fade. We, who wand'-ring A - rabs are. Fly from
181
f^Tr ^ f
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sorrov , laugh at care. We, who wand'ring A - rabs
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sorrow, laugh at care. We, who wand'ring A-rabs
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sorrow, laugh at care. We, who wand'ring A-r^s
^S
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are. Fly from sor-row, laugh at care. Fly from sor-row.
]S~'V^
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^_ are. Fly from sor-row, laugh at care, Fly from sor-row.
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j :' are, Flj from sor-row, laugh at care. Fly from sor-row.
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fly from care, fly from sor-row, fly from care.
S
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fly fix)m care, fly from sor-row, fly from care.
TTT
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fly from care, fly from sor-row, fly from care.
182
No. XiV*
On the dark lonely Strand.
THE WORDS WRITTEN BY MISS M. LEMAN REDE.
With melancholy Feeling.
[Air — At the mid Hour <tf Night.
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On the
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dark lone-ly strand, which girts tlie tem - pes-tuous wave.
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183
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^ See a lorn fi - gure stand,Who watches yon lone - ly
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cave. Tho' night shadows hang o'er her,Wmd8 whistle and-
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billows boom. And her children de-plore her. She wanders a
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184
t^
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mid the gloom. She weeps not, she sighs not, but ga - zes
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K — KM ^T 1 r — 1^-- 1 1 •— ±r
sad-ly on his tomb.
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Oh ! that breast calmly sleeps,
^' That once was warm as her own, -' ■
Ami the loathsome worm creeps
Thi'ough the heart that was her's alone ;
And the bright eye is clouded,
-p^-— -j ^ -Whose beam was her guiding light,^—^.^
-I-
And those smiles now are shrouded.
That made every beam more bright,
All fleeted, all perished, and left her in darkness and night
yriS_
^1115
r| Farewell, Ihou Stream that winding Flows.
THE WORDS WRITTEN BY ROBERT BURNS
Larghetto.
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Fare-well, thou stream, that wind - ing flows, A
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round E - li - za's dwell - ing ; O mem'ry spare the
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cm - el throes With - in my bo - som swell-ing.
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Condemu'd to drag a hope - less chain,And yet in se - cret
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Ian - guish. To feel a fire in ev' - ry vein. Nor
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187
m
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dare dis - close my an - guish.
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g..^ ra !
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Love's veriest wretch, unseen, unknown,
I fain my griefs would cover ;
The bursting sigh, th' unweeting groan.
Betray the hapless lover.
I know thou doom'st me to despair.
Nor wilt, nor can'st, relieve me j
But, oh ! Eliza, hear one pray'r —
For pity's sake, forgive me !
The music of thy voice I heard.
Nor wish whilst it enslavM me ;
I saw thine eyes, yet nothing fear'd.
Till fears no more had sav'd me :
Th' unwary sailor thus aghast.
The wheeling torrent viewing.
Mid circling horrors sinks at last.
In overwhelming ruin.
1^1 '
r\\
Blow, bloWf ihou Winter^s Wind.
A POPULAR SONG, SUNO BT MR. BRAHAM, IN SHAKSPEARE's
PLAY, OF THG MERRY WIVES OF WINDSOR.
Andante.
Dr. Arne;;
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Blow, blow thou Winter's
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189
ig^
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wind. Thou art not so un-kind, thou art not so un-
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kind as nieui's in - gra - - ti - tude. Thy tooth is
t^ kP f"'
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not so keen> be-cause thou art not seen, thy
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tooth is not so keen, because thou art not seen, Al-
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tho' thy breath be rude, al-tho' thy breath be rude - Al-
35
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the', thy breath Ibe rude.
^E
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Freeze, freeze thou bitter sky,
I'hou dost not bite so nigh
As benefits forgot ;
Though thou the waters warp,
Thy sting is not so sharp,
As friends remembci'd not.
191
Tlie Masquerade.
THE WORDS WRITTEN BY W. LEAIAN REDE.
Litiely.
Air — C'est I'Amour.
i^^^sms
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Here let song, jest, dance and whim. Light-en all our
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192
Spbzt
> — I— bi
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I
glances, Joy fills her goblet to the brim, Pleasure'j train ad-
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vances. Lightly the fai - ry footstep steals, Where mus.ic'^
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ma-gic straius be-gin. Whilst vi-zors like the lamp con-ceals
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193
^-^-P^=t=lX-Uq
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The rap'rous flame that burns within. Then oh ! seize an
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hour. All beaming in bliss like this. Whilst bliss is in our
fes
=^-^— =^
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^
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power Let's taste the pow'r of bliss. Gai-ljr,.at the masqus-
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194
rade Y'outhful bosoms beat. Lightly as the movements
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made By beauty's bounding feet.
^^^E^E^z:^^
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Why should age reprove our mirth,
Or cynics chide our gladness.
When pleasure's sun has set on earth,
*Tis time enough for sadnes'.
Scholars may pore o'er midnight lamp.
Darkly they gleam to those above.
Why should their frowns our pleasure's damp ;
Let them seek lore whilst we seek love.
For learning sheds no gleam
To those who read but eyes.
And Ovid's softest theme
Is not so soft as sighs.
Gaily, &c.
195
i-
Whereas the Heart so cold.
THE WORDS WRiriEN BY MISS M. LEMAN REDE.
Larghetto.
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cold. Thy harp could not a - wak - en.
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hear thy sto - ry told, Nor feel its pul-ses shakeu.
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When a - mid the strings. Thy magic fingers straying, If
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-that thbu hadst but wings. We'd think an an-gel play - ing
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197
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When we hear thy tale Of woe and vir-tue given, We
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feel thou canst not fail To yet be one in IleaT^u.
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Then let sighs less deep,
O'er thy lip come stealing ;
Be the tear you weep.
Fraught with balmier healing.
Mem'ry vainly tries
To speak to thee of error ;
Hope beyond the skies.
Hushes every terror.
All thy many woes
To thee were only given.
To prove, how purely glows
The flame that mounts- to Heaven.
198
With theejair Summer* s Joy appears*
A FAVORITE SONG, SUNG BY MR. BRAHAM, IN SHAKSPEARS'f
ILAY OF THE MERRY WIVES OF WINDSOR.
Andunle.
8vo
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With thee fair Summer's joy appears,Oh !
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199
S-1 "^"
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sweet Anne Page ; But thou a • way dread
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Win-ter's near. Oh ! sweet Anne Page. And
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all a-round is dark and drear, The leaves look pale and
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shepherd's"mourn,AII na-ture droops till you re-turn. Oh !
i^iE^felE
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sweet Anne Page.
-'-4-± '^' ' — i^-^- ' ■* d
When April's glories shine on me.
Oh ! sweet Anne JPage !
And violets bloom, oh!, none -I see,
Oh ! sweet Anne Page !
But sweets or colors stol'n from thee ;
Yet though 'tis Winter, thou away.
Still there thy shadows make it May,
Oh ! sweet Anne Page !
201
Comin throi' the Rye.
A. CELEBRATED SCOTCH 80N0, SUNO BY MISS STEPHENS.
Andante.
8vo
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35
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Gin a bo - dy meet a bo - dy Comin thro' the rye.
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202
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Gin a bo-dy kiss a bo-dy. Need a bo - dy cry.
m^-^-^+r^^m
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U - ka bo - dy has a bo-dy. Ne'er a ane hae
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15
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I, But a' the lads they lo'e me weel,- ~A"nd
r:^^ Q^A OJ tk^^ tfluU 'U^ hn^Aj^. j^ ^r^/V/l^
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203
J Jz
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11
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Gin a body meet a body
Comin frae the well ;
Gin a body kiss a body,
Need a body tell.
Ilka bodv, &c.
m
Gin a body meet a body
Comin frae the town..
Gin a body kiss a body.
Need a body gloom.
Ilka Jeimy has her Jocky,
Ne'er a ane hae I ;
But a' the lads they lo'e me weel.
And what the war' am I.
i
204
Allegretto.
8vo
Oh ! when in Days that are yet to rise.
THE WORDS WRIITEN BY MISS M. LEJMAN REDE.
[Air— T&c Legacy, a
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Oh ! when in days that are yet to rise, A-Ione you stray by this
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205
^ — h-
-i:-:s:--->-i
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moonlit sea. And gaze as now on the star-ry skies, WilJ
i^S
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p—^^-p- =1-
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H
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not a fond thought re-veit to irie ? Wilt thou not wish, al-
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tho' no lon-ger Fond in-ter-est in thy heart I claim. That
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nz
P^li
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iinpig
oilier tVieiuls and ties far stronger. May liap-pi - ly light my
-Q-^ -»— #■- 1-»-. I T^ — #- — ■
steps to fame
* * *^ * V *>
^i
^^
'1
^--^-^-a
^i^mM
Oh ! yes 1 know thougli far I sover.
Without the hope that was once my own.
Thy heart cannot resign for ever
The thoughts of bright days too fleetly flown.
And thou wilt wish where'er I wander,
That Heaven's kind care my path may keep,
And shed a tear of pity — fonder
Than happier days e'er saw thee weep.
And when my weary exile's o'er.
And time shall bring the wanderer home.
To tread again the native shore.
From which and tliee 'twas death to roam,
Although forgot by all who may linger,
As kindnnl or friends, to my cold view, -"^
Love, early love, with unerring finger,
I feel will point me out to you.
1
-trr::
207
O this is no my ain Lassie,
A FAVORITE SCOTCH SONG.
TllF. WORDS WRITTEN BY ROBERT BURNS
;^;B
Allfsreito.
=1^=^:^
f---^- -f-
±*
LLr_jLj^
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O this is no my ain las-sie. Fair the' the lassie be, O
mi
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Bj^ggppag^^
208
p
mnfuffki^m
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weel ken I my ain las-sie, Kind love is in her e'e.
- — h
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I see a form, I see a face. Ye weel may win the fairest place, It
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wants to me the witching grace,The kind love that's in her e'e.
r^. ^-l„i^-..-
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O this is no my ain lassie.
Fair though the lassie be,
Weel ken I my ain lassie.
Kind love is in her e'e.
She's bonny, blooming, straight, and tall.
And lang has had my heart in thrall.
And aye it charms my very saul.
The kind love that's in her e'e.
^~fc^
O this is no, &c.
A thief sae pawky is my Jean,
To steal a blink by a' unseenj^
But gleg as light are lover's e'en.
When kind love is in the e'e.
Tin
-t~
O this is no, &c.
It may escape the courtly sparks.
It may escape the learned clerksi. „
But weel the watching lover marks "^"^
The kind love that's in her e*e.
-:±i:5r.ir^i
E^EH:^:iE2.
(
\
M»*' . mmn ^Mut- I.
m
The Day returns when first we met. ^ /? „
THE WORDS WRITTEN BY IMns. CORNWELL BARON WILSON.
ISulyect from VlOTTI.
ffif^Sfp
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The day re - turps when first we met,
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211
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1*' IH — H^^T^-H 1-4— ■
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seems but now, but now a love
iey^|^.^tfeg^^
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dream. The sun which cheer'd me then has
ipi^p^^
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setj Nor left be-hind one sooth-ing beam, one
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Sin:
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beam, The sun which cheer*d me then
has
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213
b— b— y — [s
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set. Nor left be - hind one sooth-ing beam. Nor
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left ----- be - hind
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sooth - ing beam.
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214
^
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The day returns, — in gayest pride
Glad Nature hails young Summer's reign ;
And I must try in smiles to hide
The grief that rends my heart in twain. ,
1=--
The day returns, but still I mourn.
The hopes that bloom for me no more ;
The peace that from my breast is torn.
The joys of youth so quickly o'er !
The day returns, — to me in vain.
It cannot give this bosom rest;
But only brings redoubled pain,
Jo know, I can notmore be blest !
r- 3—
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215
r^- —
Love in thine Eyes.
A FAVORITE CANZONET FOR TWO VOICES.
Allegio. W. Jackson.
m
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07"^^ ' Lr -*-^gr^r^
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Love in thine eyes for e - ver plays.
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216
ro - sy lips his care. And walks the ma - zes
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of thy hair, Love dwells in ev - ry out-ward
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of thy hair. Love dwells in ev - ry out-ward \
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part. But ah ! he ne-ver ah ! he ne - ver.
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-#— =-
217
mi
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all ! '' ■^ - he ne-ver touched thy heart, he
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218
i
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thine ! No out-ward marks of love are mine ;
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ami grief,
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deep with -in my glow - ing soul He reigns, and
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deep with - in my glow - ing soul He reigns, and
220
rules with - out con-troul, He rules, he
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rules with - out con-troul. He niles, he
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reigns with - out con - troul, he rules he
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rules, he reigns with - out con - troul, lie
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221
<*ME^^;sf:^^
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reiijns with - out con - troul, with - out con
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reigns with - out con - troul, with - out oon-
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trouI, with - out con-troul.
jfc«;
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troul, with - out con - troul.
222
Oh ! could I bid the Days return.
THE WORDS WRrn'EN BY MISS MARY LEMAJV REDE.
Allegretto. [Am— When frtt I nut I li<r.
*** OB!
m^t
-^
ws
s — h-T'i^ — 5~~p~ M h ^ ~ ^
could I bid the days re-turn. That once with joys were
i
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223
^^^^^^m
glowing. Ere first from Sor-row's e - bon urn. The
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m
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p-p
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bit-ter stream 'vas flow - iug. And choose from all the
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va-ried light of plea-sures pure and ma - ny. But
-• ■ :?— Ht • P-
224
ifife^^^i^^
one to make my pathway bright/Twould be the smile ol
S
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mem'-ry's joys I luim - ber, Oft, oft I
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225
^^
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meet it while My eyes are clos'd in slum - ber.
* ^
irrT" r~^fe^5
^^r^^f\i=^f^^\=F^fTW-
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i
'Tis ever thus, in vain, we view
The hope we nourish'd blossom.
When bright in bloom, and bath'd in dew.
It fades upon the bosom.
Oh, Fanny ! thy fond smiles of bliss.
Thy tears of tender sweetness,
Beam'd all too bright for me to guess.
That such would be their fleetness.
At morn those smiles were mine.
In light and love unclouded ;
, At eve that form divine.
In death was darkly shrouded.
But, like the sun, in that pure clime.
Where night is daylight mellow' d.
Beneath the holy touch of time, —
Thy loss has long been hallow'd j
And now beyond the bliss most bright,
If earth for me has any,
I prize the pure and calm delight
Of thinking of my Fanny.
My vesper star ! my love !
My soul to thee was given ;
Oh ! plead for it above.
And summon it to Heaven
226
NO. aCFSI.
Tlie Rose that you gave me has wither d away.
THE WORDS WRIITEN BY MISS MARY LEMAN REDE.
[Air — Farewell ! but whenever.
i^SFF^I
P
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f f
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The rose that you gave me has wither'd a-way. Yet how
P'
31=3!
227
gii
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i
w
sweet-ly it breathes in the midst of de - cay, Tho' its
f~r-P — p-
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blush-es are gone, it is dear-er to me. Than the
i^^
9^=^
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brightest that blow on their own na-tive tree. I
f^=P^
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228
m
fe
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tiea-sure its frag-ments, Tho' some-times a sigh Will
1
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scat-tor their sweets as they faint - ly breathe by. For they
f- ^ l-iiJ — Mri F-#
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31
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^— ^-^
f
f
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whis-per that all that is dear and di-vine. Like their
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229
I
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fu - gi - tive beauties, but rise to de-cline.
m—f^ — f—1 — f^
^£=:^-'f^^^I^^:^
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That life, like a rainbow, first gives to our view
-Existence, imbued with each soft tinted hue ;
Bnt they fade one by one, till the last glow has sank,
And our hearts become cold, and existence a blank.
Oh ! long before that may I sink to repose.
Nor linger to see the last beam o'er me close.
To be left a lorn mark on the desolate scene.
That merely points out where the waters have been. '
j
They'll have ebb'd far away, and their bright tide no more :
Will revisit the vej-dure that fades on the shore ;
The pale flowers perish, the last of their kind.
And leave not a wreck of their beauty behind.
Oh ! no, ere existence has quite lost its spring.
And my spirit yet rises on hope's bouyant wing.
May I fade from the sunshine, and leave a fond ray
To vkit the grave, where I sink to decay.
230
If those who live in Shepherd's BowW,
TIIE WORDS WRITTEN BY THOMSON.
Allegrftto.
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If those who live in shepherd's bow'r. Press
^m^s
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231
not the rich and state - ly bed ; The new mown hay and
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breathing flow'r, A soft - er couch beneath them spread. If
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WOZZM.
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those who sit at shepherd's board^Soothe not their taste by
i
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232
m
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8
wan-ton art. They take what na - tures f^ifts af - ford. And
« » »
Si^^j^^g
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f — F— ^
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am.
take it with a cheer-fui heart.
^^ypFFipg^sp
ff
ai^ps^^
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.. .. rff Ikoge who drain the shepherd's bowJ,
^ ; ."Np high and sparkling wines can boast j
'--:^ With wholesome cups they cheer the soul.
And crown them with the village toast.
If those who join in shepherd's sport,
- n. -(Jay dancing on the dasied ground.
Have not the splendor of a court.
Yet love adorns the merry round.
23S
No. xvmi*
Breathe not again that dreadful Sound.
THE WORDS WRITTEN BY MISS MARY LEMAN REDB.
Aff< tuiigo.
[Air — Whena''er I see those smiling eyet.
W^
"iSSE^
Sg
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^
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i^ ^-» 1 — ^^ — IN Ni rv
— — i^Ha— w«W— *- — ' 1^ I : — ^-J-I
Breathe
^;
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not a - gain that dread - ful word. That from your
m.
m.
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4-i4 -i-4-t4
^_j__^-^l_x_j_j^ — j-j- ■ i-
■+•
•^- -^ r--
est
f^m^^^w^m
lip so late - ly fell. Which *^«n my ear with
f»-a-f-H
^^
1^
fcj'j ;J -jjg
fei
b-
nor - ror heard. It woke likt dy - ing pas - sion's
trt *-*
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m^
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knell! Chase not. the dear de - lu - sive dream, Which now has
m
FHfetfct=jfeiJ=i»
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^
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luU'd my heart so long. Let not thy harp Ibr-sake the
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theme. In which it breath'd the soul of song.
——-I — ^g^ ^^— — ■ — -
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iStill smile, my love, as when the dream
Of passion woke that sunny ray.
Which melted like the western beam,
When daylight fades in dew away ;
Let my adoring eyes perceive
The smiles you gave, when love was young ;
Still let thy playful fancy weave
The tale on which, entranc'd, I've hung.
Tell me you love, and let me see
The truth in thy dissolving glance ;
Turn, turn, that languid eye to me.
And let its light my soul entrance ;
But if that bliss you now refuse.
And love no more can wake those charms,
Oh ! take me then, and let me lose
Existence in thy faithless arms.
236
The halmy Odours of the Mom.
THE BRIDESMAID'S SONG and CHORUS fuom WEBER'S OPERA OF
Dbr Frieschutz.
THE WORDS WRITTEN BY MISS MARY LEMAN REDE.
Andcmt'mo.
g^ife
-li —
^mmm^ms^^
Sves.
^ I
■. idtf»«ii i
i
^— A
^ F-
^-^
I
The bal - my o-dours
^ L-J i 1 M in ill ^1 Y- < -1 f 1- ■
287
totil y^^ *^® morn al - rea - dy breathe a - long the grove, And
^^^S
t-
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on the hill the ro - sy dawn Looks radiant as the
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blush of love. Balm - y mom and beam - - y
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EO-i^—zfa;
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238
^i=^=^
J--ML-" §rrm
s
^
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skies. Say, why art thou dear ? Say, why art thou
^^^ig^^
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Chos.
p-
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dear. 'Tis that love in El - - la's eyes A-
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*ris that love. in_ £1
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s
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239
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wait me fond-ly here, A-wait me fond - ly here.
mm
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wait me fond-ly here, A-wait me fond - ly here.
/.
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Ah ! see she rises to my view.
Like new-bom light from clouds she springs ;
Did love e'er lie in eyes more blue 1
Her form but wants an angel's wings.
Sister seraphs well might steal
To view her from on high.
And deem she hid them, to conc«
*^ She'd wander'd from the sky.
240
NU. XIX.
Oh! Love is just like Gaminq,
.:r^~jj;*?JHE WORDS wRirniN by mss mary leman rede.
Allegretto. [Air — To Ladiea' Eyes.
-3- 9-r-M — a- W — W
^1
W~9
^
^^mm
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1 1 III
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Oh ? love is just like gam-ing. The world the pack, the
i
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241
world tlie pack, The human mind in - flara-ing, With tort'ring
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rack, with tort'ring rack, Some hearts, like dice too tru-ly. On
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uo-thing fix, on no-thing fix, While hands are tak-en
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242
b — N-
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cool-y, And won by tricks, and won by tricks, Oh! love is
■«
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just like gaming, The world the pack, the world the pack, The
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human mind iu-flaming, With tort'ring rack,with tort'ring rack
m
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243
^^it \-WlM
^
eS
The men, oh ! who will doubt it.
Are oft the knaves, are oft the knaves ;
But when we set about it.
We make them slaves, we make them slaves ;
But some are so unruly.
They will he kings, they will be kings.
And king of clubs too truly,
And such like things, and such like things.
The ladies all to Hymen's
Bright altars crowd, bright altars crowd.
Some to be queen of diamonds.
It is allow'd, it is allow'd ;
But such soon change their billing,
And call in aids, and call in aids,
And while their spouses killing.
Prove queen of spades, prove queen of spade*.
\^
^'
Cut those who prize the winning
Of real bliss, of real bliss.
Despise such sordid sinning,
As much amiss, as much amiss,
And seek those honT)rs solely, . ^iL-J-
That love imparts, that love imparts
Ambitious to be wholly
The queen of heartSf the queen of hearts.
241
Waters of Elle.
THE WORDS FROM GLENARVON, adapted to a FRENCH AIR.
Affttuoso.
^^^-TjijTrfrrrmt-
^^^g^^^^
V — V
g=
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Wa-tees of
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':(.i tiiJ't !<• ,'c;i.i' iUC.l
fe:-Cin:H:
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Elle, thy lim-pid streams are flow-ing. Smooth and un-
tfe^j? I j7 fPipyn:^
SEt
4> — *
^
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245
|s=^
1^—^t
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trou-bled o'er the flow'ry vale.
Si iuwjM
8ves.
.? 1—
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On • thy green banks once
i
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more the wild rose blowing, Greets the young Spring,and
T^ir-f p-
^
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246
pp^
scents the passing gale. Greets the young Spring, and
^^^^^^m
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1
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scents the pass-ing gale.
a^ -B.
wy^fpm^m^
— *
pigiigp?^t"P
E^^iiSa
iS=f
^
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s
Here 't%vas at eve, near yonder tree reposing
One, still too dear, first breath'd his vows to thee ;
" Wear this," he cried, his guileful love disclosing,
" Near to thy heart, in memory of me."
Love's cherish'd gift, the rose he gave, is faded ;
Love's blighted flow'r, can never bloom again.
Weep for thy fault, in heart and mind degraded,
Weep, if thy tears can wash away the stMn.,
247
O what ye wha that lo'es me.
A FAVORITE SCOTCH BONO.
THE WORDS WRnTEN BY ROBERT BURNS.
Andante con Eipreuione,
b N-
l^^mrr^^'-rfifr^^
tiLj '^'aa^
^^
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SS
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wat ye wha that lo'es me, And has my heart a
^^S
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•-•! — e-?
P
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248
keep-ing, O sweet is she that lo'es me, As
i
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dews of Sum-mer weep-ing. In tears the rose-buds
-^^
f F n^^-M^
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steep-ing, O that's the las - sie o' my heart, My j
jtifcB
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IZZZZZI
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249
^^
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K— p-rp=zr-y— rr
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las - sie e - vet dear - er, O that's the queen of
jl' \>-d-
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wo - man kind, And ne'er a ane to peer her.
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2oO
If thou shalt meet a lassie
In grace and beauty charming.
That e'en thy chosen lassie.
Ere while thy breast sae warming.
Had ne'er sic powers alarming,
O that's the lassie o' my heart,
My lassie ever dearer ;
O that's the queen of woman kind
And ne'er a ane to peer her.
If thou hadst heard her talking, j
And thy attention's plighted.
That ilka body talking.
But her, by thee is slighted.
And thou art all delighted,
O that's the lassie o' my heart.
My lassie ever dearer ;
O that's the queen o' woman kind.
And ne'er a ane to peer her.
If thou hast met this fair one.
When frae her thou hast parted.
If every other fair one,
But her, thou hast deserted.
And thou art broken hearted :
O that's the lassie o' my heart,
My lassie ever dearer ;
O that's the queen of woman kind,
And n<^er a ane to peer her.
251
When fore' d from dear Hehe to go.
THE WORDS FROM SHENTONE'S PASTORALS.
Andante con Espretsione. [Dr. Arnc
i
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When J
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forc'd from ccar He - be to go, What an - guish I
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felt at my heart, And I thought, but it might not be
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so, She was sor - ry to see me de - part. She cast such a
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languisk-ing view, My path I could ecarce-Iy dis-
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253
cern, So sweet - ly she bade me a - dieu,
ax r\
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thought that she bade me re - turn, I thought that she
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bade me re - turn.
ff\ f!\
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55
E^
254
^
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I thought she might like to retire
To the grove I had laboured to rear i'^'
For whatever I heard her admire,
I hastened and planted it there. '
Her voice such a pleasure conveys,
So much I her accents adore,
Let her speak, and whatever she says,
I'm sure still to love her the more.
And now, ere I haste to the plain.
Come, shepherds, and talk of her ways ;
I could lay down my life for the swain,
That would sing me a song in her praise.
While he sings, may the maids of the town
Come flocking, and listen awhile ;
Nor on him let Hebe once frown; .- — —
But I cannot allow her to smile. '*
To see, when my charmer goes by.
Some Hermit peep out of his cell ;
How he thinks of his youth with a sigh.
How fondly he wishes her well.
On him she may smile if she please,
'Twill warm the cold bosom of age ;
But cease, gentle Hebe, oh ! cease,
Such softness will ruin the sage.
-...; i
: J I
/:>
I've stole from no flow'rets that grow
To paint the dear charms I approve ;
For what can a blossom bestow.
So sweet, so delightful as love.
I sing in a rustical way,
A shepherd, and one of the throng ;
Yet Hebe approves of my lay ; —
Go, Poets, and envy my song.
k
255
Jock o* Hazeldean.
A CELEBRATED SCOTCH BONO, 8UNO BY MISS PATON.
THE WORDS WRITTEN BY SIR WALTER SCOTT.
^.
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Why weep ye by the tide, la-dy ? Why weep ye by the
tide ? I'll wed ye to my youngest son. And ye sail
1^:
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1—5:
mmf£=i^F^=r^^i
he his bride ; And ye sail be his bride, la - dy, Sae
L^rJEE^E^^g
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^^^^^
come-ly to be seen; But aye she loot the tears down
pg^gg^^^^s
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333:
fa', For Jock o' Ha - zel-dean.
i 4- ^ -^ -9- i ^
t
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Now let this wilful grief be done.
And dry that cheek so pale.
Young Frank is chief of Errington,
And lord of Langley dale.
His step is first in peaceful ha*, — J—*
His sword in battle keen ;
But aye she loot, &c.
•* O' chain o' gold ye shall not lack.
Nor braid to bind your hair.
Nor mettled hound, nor managed hawk.
Nor pal fry fresh and fair;
And you, the foremost of them a*,
Shall ride our forest queen."
But aye she loot, &c.
The kirk was deck'd at morning tide.
The taper glimmer *d fair.
The priest and bridegroom wait the bride.
And dame and knight are there.
They sought her both by bower and ha'
The lady was not seen :
She's o'er the border, and awa*
Wi' Jock o' Hazeldean.
258
Tsro. XX.
Sunshine on thy Pathway.
THE WORDS WRITIEN BY WILLIAM LEMAN REDE.
Andanit
[AiB — Tho' the last glimpse of Erin,
Ei
«r^-t-f— j-tf
J — fr«
Sunshine on thy pathway, My t -
^E3B^
-*~i-^
±dfc±
i
:^=F^
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259
P
iP'TpT">
|Ez:?3:z
CTFg?
psi=a
*«w-
bon-eyed Jane, Wher - e • ver you wan-der O'er
'"U
m
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moun-tain or main. Smooth be the cur
m
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rent that wafts thee from me, And soft blow the
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260
^
Q 1 1. JL
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i
breez-es When thou'rt on the sea
^^^
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Lightly, dear maiden,
Thy bosom may prize
The vows of my breathing.
The glance of mine eyes.
T-ightly thy heart may
Bound gaih and free.
Whilst mine must, uneasy.
Ache sadly for thee.
Yet blessings upon thee.
My light-footed fair,
Tho' for me or my fate
You confess not a care.
The star that in yonder
Bright heaven I see.
Is as lov'd of my soul
The' it beam not for me.
261
No. XXi,
\-~3U:^fetto.
Hush'd be Sorrow* s Sigh.
THE WORDS WRITTEN BY WILLIAM LEMAN REDE.
[Aia — Nordh Crthta.
M\n\Ui
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Hush'd be Bor-row's sigh to night. Let no tear of
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262
hT— r-— N I — S-
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grief be start - ing ; Joy a - lone shall lend her light, And
UUHttf^^
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^m
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bless the mo-ment of our part-ing. To so - li - tude be-
m.
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queath the sigh. For mem'ry's thrilling thoughts to sleep in,To
/)^T-]M-l?^J3fe^:^j^^Sfer
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night we meet, then why, oh ! why. Dim an hour of
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bliss with weep - ing. Waves will roll beneath us soon,
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Moms will rise, and we shall greet not; Reserve your tears till
•7 -4- -J- T ■•- it- ■«- '^■^
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264
^^^^^m
eve has flown, And let us weep, love, when we meet not.
r\r
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pb^pi
Come, take the cup ; our only tears
J Must be the ruby tears of pleasure ;
J 7 These few last moments are as years,
We cannot lose in woe the treasure.
Now let every thought of bliss.
Here in rich communion meet, love ;
jEZ^irXir" Perchance we take a last, long kiss;
^ Oh ! let that dear, last kiss be sweet, love.
"* Waves will roll, &c.
Oh ! let our parting hour be such
T'Z"7""'"". ^ brilliant moment of delight, love.
That rapture could not add a touch
Of joy, to make the hour more bright, love;
That when afar, we dream again
On pleasure fled, or bliss departed,
-'T'-'r — i -One ^em shall light the page of pain,
■Remembrance of the eve we parted.
Waves shall roll, &c.
n'
265
Some Fairy Spell around me plays,
THE WORDS WRITTEN BY Mks. CORNWELL BARON WILSON.
Andante Esyreasito. [Scotch Melody, i
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spell a-round me plays. Whene'er I hear that tone ;
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266
|gF?f^gj^^§
To me it speaks of o-ther days, And joys for
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e - ver flown; The hearts that felt it
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then are cold. To them its charms are o'er ; The
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lips which breath'd that strain of old, Shall ne'er re-
Jl * 51 — ■ "^"n-HV
How sweetly at this silent hour.
It floats upon the wind ;
Now melody has double power,
To soothe the pensive mind ;
And while I hear that well-known strain.
By minstrel fingers play'd,
I live o'er happier hours again.
And present sorrows fade.
Then, oh ! repeat that soothing lay.
*Tis like some magic charm
That's plac'd by Hope in life's bleak way.
To keep the bosom warm ;
And as the wand'rer of the night
Hails morning's welcome beam.
So memory meets the lovely light.
That cheer'd life's early dream.
268
Jn Infancy our Hopes and Fears.
Andante.
nHjWjvi
269
I
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in-fan-cy our
lopes and fears were to eac
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known. And friend - ship in our ri - per years has
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twin'd our hearts m
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•
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twin'd our hearts in one.
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■^ '■"^^ Oh
■T^^
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270
a4-.
S
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I
clear him then from this of - fence. Thy love thy
f^r r-x
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(111 - ty prove ; Re-store him with that innocence which
^
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first in - spir'd my love
which
m^
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first - - in - spir'd my love.
love.
H
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§
271
O my Lovers like the red red Rose.
A CELEBRATED SCOTCH SONG, SONG BY MR. SINCLAIR
Andamtino.
-f-r -r-f f-f?
^5ES^^^^^
O MY love's like the red red rose that's
i-c-#
fjJlhlJ^-^
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newly sprung in June, O my love's like the me-lo-die, that's
H ' ^-
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^
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272
prijimem^
sweetly play'd in tune. As fair art thou, my bonny lass, So
^^3SE^^
7rf~iTT~h
i
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f
n f!\
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deep in love am I, And I will love thee still my dear, till
^%
3
— +—■ F-
ff
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m
g
f!\
3=jt=±
« #
P^^i^^^^
a' the seas gang dry. Till a the seas gang dry, my dear, till
—I-
i^E*
V-F-
J r- ^ J I
273
^^[f ^^%.nm^
-Kr
a the seas gang dry, O I will love thee still, my dear, till
i
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t=±
^Et
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i
I
^m
1
j*5fe*f
a' the seas gang dry.
I
It;^ r>r. I >
a
?
Till a' tlie seas gang dry, my dear.
And the rocks melt with the sun,
I will love thee still my dear.
While the sands of life shall run.
Then fare thee well, my only love,
O fare thee well awhile.
And I will come again, my love.
The' 'twere ten thousand mile.
Tho' 'twere ten, &c.
274
O what a charming Fellow,
SUNG BY MRS. HUMBY, IN THE AGREEABLE SURPRIZX.
*^
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H ^-
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^
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^-Mf^=F^
O what care I for
^B^S
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T~F~g
B^g^^
275
tei^^l^
mam or dad, Why let them scold and hel - low , For
iW=Fr
W— «-
^
^gf!ffeii§
while I live, I'll love my lad. He's such a charming
pm^^^^
335
?
■f P-
P=?=iKLte
I
^— — #
i^^S^^p
lel - low. The last fair day, on you-der green, The
y ^4 j-JJ--^ ;;z=za_
:=fl-J 1. I
i«^
^Si
a^
-^ P—F ^
276
^^^ii^^S
youth he danc'd so well, O ! So spruce a lad was
EI
-H—
mftmm
i^-
ue-ver seen. As my sweet charming fel - low.
xW^^^j^r
P 0
m
^p^p
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^-^» — M '^ -f , 1 - — -~^-H~
Ll^L '. — ? — L.^_r 1: — J_i_L_r__|4_
■'•■ — 1- ■ ■ •-■ -■ s - " ■
The fair was over, night was come,
The lad was somewhat mellow ;
Says he, " My dear, I'll see you home j"
I thank'd the charming fellow.
We trudg'd along, the moon shone bright,
Says he, " My sweetest Nello,
I'll kiss you here, by this good light."
O ! what a charming fellow.
" You rogue," says I, " you've stopp'd my breathj
Ye bells ring out my knell, O !"
Again I'd die so sweet a death,
With such a charming fellow.
The last four liues are to be sung to the second part of the tone*
277
Smile on, for thy young Day is dawning.
THE WORDS WRITTEN BY WILLIAM LEMAN REDE.
Allegretto. [Ai« — Siitg", ting.
T'^^^-i^i-
n: fif^f^ =r"M — r T 1 -I — T^^ — T-'
~t?8 -- - ^ T n _1_J_X..
3?*
I
^
Jzdrcc:^
i
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Smile on, for thy young day is dawn-ing, The
fe
1 i "1
ifcut
f=f=r*
I
't: ^
278
^p^i^feiif^^
world beams for thee in its bright-est of hours ;
::t
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ai
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r-N N N
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Waim gleams are be - fit - tiug the morn - iiig, When
i
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esasE
— i — ^ — I-
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rap - ture bursts forth, like the sun up - on flow-ers-
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1 ! IS-
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270
P^s^
^
Bright as the sky is thine eye's brilliant beam-ins^.
^m
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IS
^
£^
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feff •■ ^^
P^
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Light bounds your heart as the roe on the moun-tain
0\
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fcp
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a
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Calm flow your thoughts as the Sum-mer lake stream - ing
■^
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280
i
nSZZIZDKZBZZZZIK
W^^a^
i —
KTZiiz::!
— t-
liziijl:
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Sparkling in joy, like the spray of the fountain. Smile on, soon
Tr^i- -i-V^i-
^
i
S K "N
i
Pi
m
S=:^
time will a - wak - en Thy bo-som from peace to o'er-
;*-
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Sr=*
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i
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-^ —
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s — K— V
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whelm it in sadness; Thou'lt rise a-Ione and forsaken. To
^^^
5=i=5
Jr^|-=3F^P=i=P=
S3
:±=zi
-^ =^■
i=:±
^^
--J — «-
281
^
*
UST
feel tlie world's tem-pest, its wrath and its madness.
fe
ZtZTZt
T
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^-r^— 5
iEt
^
t
^^^
3He
^^^
i
m
Young dreams, like the bright lotos* growing, '
Arise from the stream, when the sun kisses ocean,
Bud in his beams, , whilst the waters are glowing.
All warm with his smiles in their tremulous motion.
As the cold eve draws in darkness around it.
The flow'rs of the earth from the sunbeam must sever,
The lotos awakes from the bright spell that bound it,
And vanishes 'neath the dark waters for ever.
Smile on, for thy young day is dawning.
Bask while you may in joy's roseate light ;
Too soon you'll relinquish your morning,
And sink in the cares of the world's gloomy night.
"j
• Aa Egyptian flower, that rises above the stream at sunrise, and sinks at
sunset.
282
Our Thoughts are still at Home.
FROM WIT<T£r's OPERA OF THE ORACLE, ARRANGED AS
A DUETT.
THE WORDS WRITl^N BY WILLIAM LEMAN REDE.
AlUgretto.
mi^^i
i
§
A-
^S
tjk-t
^^mm
a
^^^
i^^j J J--^ j"l|Ei
M d *
cross the boundless wa - ter, The barks of bat - tie
l^H
1==!:
i-i-ir^
S:
I
'im
^^^.^^^^^
ride, They sweep to war and slaughter O'er the deep Mue
^^^^^g^^
s
?
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^pg^ipp^-Spp
tide, Yet leave one sigh for home. Yet leave one sigh for
i
saanN-.'^Hi
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r^frt-
9?^E
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-e
3=±
ffi
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home. 'Mid foreign splendor glow-ing, When far the wandVer
iia^^^^iiii
'Mid foreign splendor glowing, When far the wand'rer
^^^:
•284
flies, When far the Mand'rer flies. When far the wand'rer
i
fe — b
I
tv-b-^— ^
i
# — #
# ■ # #
flies, When far the wand'rer flies, When far the wand'rer
^^^^i
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_^__-£ ^_ ^_1_. -J_r_ _J .
flies, The heart with bliss o'erflowing, A trembling tear will
-JlJJJJl^
B=3
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4 #J.#-€
tr-z^
flies, The heart with bliss o'erflowing, A trembling tear will
f^-V^
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a^
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P^pi
-f=-=h-
izii:
rise.
A trembling tear will rise. For
i^^
■r-=^
nse.
A trembling tear will rise. For
285
P
IMZIMZZMZJi:
-w—\^ L^— PI
''^ "its more humble home, For its more hum-ble home. The
i
pU4-r ri^^qgasg
K K S — N
-^— =^--
^ ^- -its more humble home. For its more humble home.
m^^^
vic-tor, M-hen the voi-ces of myriads slaout his name, A-
^-J— ^-
£±t
^..
:j:— :sr
H \-A — y
^
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ll^._J-_i.'li
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* far th"6* Bfe re - joi - ces in the full tide of fame, Would
286
rear that wreath at home, Would rear that wreath at
^^^ >
E__.
^^^^m^m
home. The hunter on the mountain, The lo-ver in his
i^ J I J ; J JlgEB^B^
The hunter on the mountain, The io-ver in his
m
^^
±=f:
1^
^^^^^^^^^
bow'r, The fish - er at the fountain. In Summer's twilight
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287
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hour, Dreams of his na - tive home,dreams oi" his na - live
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hour, Dreams of his na - tive home, dreams of his na - tive
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home. When beauty's brightest blushes are greeting heart and
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288
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sigh, For dearer smiles at home, For dear-er smiles at
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home. Thro' ev'-ry i)liss that blesses. In all our hours of
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Thro' ev'-ry bliss that blesses, In all our hours of
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mirth, In all our hours of mirth. In all our hours of
289
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mirth. Thro' pleasures or dis-tress-es, Wher'er we pace o'er
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mirth. Thro' pleasures or dis-tress-es, Wher'er we pace o'er
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earth, Our thoughts are still at home, Our thoughts are still at
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home, Our thoughts are still at home.
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home. Our thoughts are still at home.
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TSfo, XXMH,
Tli£ Bark is on the swelling Wove.
THE WORDS WRirrEN BY WILLIAM LEMAN REDE.
Allegretto. [Aip, — St. Senanua nnd the Lady, f
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on the swelling shore, 'Mid tempests' roar, and torrents*
291
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rage, And on the deck the lov-ers stand, To-ge-ther
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hand in hand, Her sun - ny locks, his ra - ven
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In Italy's bright land of flowers.
They spent their young and ardent hours.
An instant ! and their tomb will be
Beneath the dark, blue sea.
But the worst horrors death can bring,
"Will only make them closer cling.
'Tis past ! the welt'ring waves now clasp
That fated vessel in their grasp,
'Mid human misery's piercing cry,
Their lips gave one fond sigh ;
And form in form entwin'd, they sleep
In the blue bosom of the deep.
/
«99
The Woodman.
A FAVORITE SONG, COMPOSED BY MR. LIN LEY.
Moderato.
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Stay, tra-vel - ler, tar - ry here to-night ;
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The rain yet beats, the wind is loud. The moon has
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too with - drawn her light, And gone to sleep be-hind a
-Kt — ^-
294
cloud. 'Tis seven long miles a-cross the moor, And should you
g.
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chance to go a - stray, You'll meet, I fear, no friend - ly
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door. Nor soul to tell the rea - dy way. Come, dearest
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Kate, Our meal prepare, This stranger shall par-take our
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best, A cake and rash-er be his fare, With ale that
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makes the wea-ry blest. Approach the hearth there take a
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place, And till the hour of rest draws nigh. Of Robin Hood and
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Che-vy Chase, We'll sing, then to our pal-lets hie.
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Vivace,
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Had I the means I'd
H^TTT-^yyjj^^^
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297
gi^Sfi^ESIW
UiJtise you well, 'Tis lit - tie I have got to boast;
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Yet should you of this cottage tell. Say Hal the woodman.
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was your host. Say Hal the woodman, was your host.
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298
The hardy Sailor braves the Ocean.
A FAVORITE SONG, SUNG BY MR. BRAHAM, IN THE CASTLE
OF ANDALUSIA.
Grazioso.
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The har-dy sailor braves the o-cean fearless
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299
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of the roar-ing wind ; Yet his heart with soft e-
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mp-tion, throbs to leave his love be-hind, throbs,
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throbs, throbs, throbs. Yet his heart with soft e-
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* V* mo - tion throbs to leave his love be - hind - - to
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leave his love be - hind -
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leave to leave his love be - hind.
301
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To dread of foreign foes a stranger,Tho'the youth may
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dauntless roam, A - Jarra-ing fears paint ev'-ry dan - ger
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in a li - val left at home, A-larm - ing fears paiut
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ev'-ry dan-ger in a ri - val left be - hind
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The
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303
The Exile's Return.
THE WORDS WRrrXEN BY MISS A. M. PORTER.
Eapretsico.
1125
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woods of green E - rin, sweet, sweet was the breeze That
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rtis-tled long since thro' your wide-spreading trees. And
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sweet was the flow of your wa - ters to hear, And
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precious the ca-bin, the hoiue of my dear.
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305.
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For then thro* your groves, by your waters I walk'd.
And with Norah of love and of happiness talk'd,
Willie calm as the moonlight that silver'd your charms.
My child, softly sleeping, lay press'd in her arms.
But now that I visit thee Erin again,
Tho' years have pass'd o*er me, they've pass'd me in vain ;
Thy woods, and thy lakes, and thy mountains, no more
Can renew such fond thrills as they kindled before.
Still green are thy mountains, still green are thy groves.
Still tranquil the water my sad spirit loves ;
But dark is my home, and wild, wild its trees wave.
For my wife and my baby are dust in the grave !
306
O sweet is the Hour.
t ■ ■■;,
TII£ WORDS WRnTEN BY D. L, RICHARDSON Esq.
Affctuoao. ISpanish Melody.
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iveet is the hour. When low in the west, The
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Bun gilds the bower, Where fond lovers rest.
^ 1 1 ^T-A ^^
Then
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gor-geous-ly bright, Be-neath the" blue stream, In
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garments of light De-parts like a dream. Oh !
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sweet is the hour. When low in the west,
The
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sun gilds the bawer. Where fond lo-vers rest.
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O sweet and serene the spell that beguiles.
When Night's sable queen more tenderly smiles :
The boldest are coy — the wildest are grave —
The Bftd feel a joy loud mirth never gave !
O ! sweet is, &c.
The spirits of love, to hallow the time,
From regions above, pour music sublime ; —
Their harmonies cheer the dull gloom of night,
Aud wake the sweet tear of voiceless delight.
309
The Voice of Love,
TH£ WORDS WRTITEN BY D. L. RICHARDSON Esq.
Andante Eipressivo.
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Oh ! if there is a ma-gic charm in this Jow val-ley
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drear, To cheer Uie pilgrim's wea-ry way, the darken'd
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soul to cheer; It is the soothing voice of love that
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echoes o*er the mind. Like mu - sic on a twilight
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lake, or bells up-on the wind.
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Oh ! dull would be the rugged road, and sad the wand'rer's
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heart. Should that ce - les - tial har-mony from life's dark
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sphere de-part ; Oh ! how for that far distant land would
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sigh the lone-ly breast, Whose on - ly hope, deprivM of
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love, would be the place of rest.
3ia
Says Plato f why should Man be vain ?
Moilerato.
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Says Pla - to why should man be
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vain? Since bounteous heav u has made him great.Why looketh
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he with in-so-leut dis-dain. On tliose un-deck'd with
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wealth or state ? Can splendid robes, or beds of down. Or
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cost - ly gems that deck the fair. Can all the glo -
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315
of a crown. Give health, or ease the brow of care.
The sceptei'd king, the burthen'd slave.
The humble, and the haughty, die ;
The rich, the poor, the base, the brave,
In dust, without distinction, lie !
Go, search the tombs where monarchs rest.
Who once the greatest titles bore :
The wealth and glory they possessed.
And all their honors, are no more.
So glides the meteor through the sky.
And spreads along a gilded train ;
1 But, when its short-liv'd beauties die,
Dissolves to common air again.
So 'tis with us, my jovial souls ; —
Let friendship reign while here we stay ;
Lets crown our joys with flowing bowls, —
When Jove us calls, we must away.
31(J
Come if you Dare.
BUNO BY MR. THORNE, IN THE REVIVED OPERA OP ARTHUR
AND EMMELINE.
Moderato.
PunCELI.,
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dare, our trumpets sound. Come if you dare, the
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foes re-bound. We come, we come, we come, we come, says the
Re/ieat Chos.
/,CrCr^r|ffNf^^
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double, double, double beat of the thrund'ring drum. *••
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d m
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Now they charge on a-main. Now they ral - ly a- gain; The
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Gods from a - bove the mad la - bor be - hold. And
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pi - ty man - kind that will pe - rish for gold. And
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pi - ty mankind that will perish for gold.
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faint - ing Saxons quit the ground,The trum-pets languish
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in the sound. They fly, they fly, they fly, they fly ! Vic-
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Repeat Chos.
m:mis^^^i
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to-ria ! Victo-ria ! the bold Bri - tons cry. The
ggiiS^i^
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grfp^JlprHpitti^
2n(/. /t»ne.
Now the victory's won,
To plunder we run ;
We return to our lasses, like fortunate traders.
Triumphant with spoils of our vanquish'd invaders.
These lines are sung to the second part of the air — " Now they charge,' &e
and repeated in chorus.
321
No. XXl^.
Whilst thouWt hy my side,
THE WORDS WRTITEN BY WILLIAM LEMAN REDE.
Allegretto.
[Aim — Dear Harp of my Countrtf.
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I gaz'd on thy face, love, When
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sickness had thrown, O'er each darling trace, love. Its
^
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langour a - lone. Yet when hec - tics were flush - ing a
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cross thy dew'd brow. Love's cur-rent was gush - ing. All
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jwarmly as now. In thine hours of brightness of
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beau-ty and joy, When thy smile was all lightness, My
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own is - land boy. My heart own'd thy pow-er, En -
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shrin'd in its core ; But in mi - se - ry's hour^ I
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learnt to a-dore.
324
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If I joy in thy blisses
When rapture's tide flows.
If dear are thy kisses.
More dear are thy woes.
The ill that hefalls thee.
May call up a tear ;
Yet the woe that enthrals thee,
But makes thee more dear.
When danger annoys thee,
I sorrow with you ;
In the storm that destroys thee,
I perish, love, too.
Come want, woe, and sorrow.
Thy cares I'll divide,
Nor fear the worst morrow.
Whilst thou'rf by my side.
8-25
Come Love to me.
THE WORDS WRITIEN BY L. Z.
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love, to me, the ves-per star Shines bright and clear a-
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Will droop and die ; — alas !
My love for thee aye fresh shall be.
Nor like a flowret pass.
Then come to me, the vesper star
Shines bright and clear above;
I've wander'd, sweet, I've wander'd far.
To sing my faithful love.
328
If o'er the cruel Tyrant Love,
Andante.
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to take - - the trai-tor's part.
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INDEX.
Obserrations on Music •• • • •• •• •• w
Solfeggio • •• •• >• •• •• •• •• tH
Exerci8€ on thirds • •• •• •• •• •• ix
£xercise on fourths •• •• •• •• •• xi
Exercise on fifths .' • . . . xii
Major, or whole-tone shake • •• •• •• •• «. •• xTiii
Minor, or half-tone shake xviii
The turn • •• xix
Style xxl
Accompaniment* •• •• •• •• •• •• •• •* .. xxTt
AH the b]ue bonnets • 13
Alva . a i. •• .. 115
All Venice looked gay at the bridal •• •• f« •• .. 148^
Blow, blow, thou winter's wind *'^i't,* '^'i. 188
Breathe not again that dreadful sound 233
Could the voice that I loved •• '•'• '»'• 66
Comin thro' the Rye •• .«'•''»« '"'•'>''_ »« ;.;;•"" '*• '""»« 201
Come, if you dare • *'• *.'• '*'" ii .V*'';^'." •.':.. 316
Come, love, to me ' •• • %'^ i.' «. 325
Pair Clora •♦ *^; .;•• »• 96
Forgive the muse that slumbered •• •• 141
Farewell, thou stream that winding Bows 185
/
342
Gentle youth, ah! tell me why •• •• •• •••» •• 45
Green grow the rashes, 01 •• • • •• •• 100
Heroes, when with glory burning* • •• •• • 56
Haric! I hear the ocean's 'whelming sweep • • •• •• •• 63
Helen 80
Had I a cave •• •• •• 155
Hushed be sorrow's sigh .... .. .. 261
In griefs and in dangers •
I lore to catch thy radiant smile > .
If those who live in shepherd's bower
In infancy our hopes and fears • •
If o'er the cruel yrant Love • •
John Anderson, my jo, John • •
Jock o* Hazeldean »* »» *r svr^
i/x : •' »•
Let me wander not unseen • • • •
Let us haste to Kelvin grove • • »•
Last May, a braw wooer
Love in thine eyes • • • • • • • •
No flower that blows •• •• •• •• '•*• •• •• .. 76
No more shall I seek in the red field of danger 166
O! come to the tomb •• •• •• «« • •• 92
Oh! nevermore .... •• •• vc^ ^^. .. i. .. 103
Oh! who has seen the miller's wife •• •• v!»'5(fi*5,. *• ^^^
O! Logic o' Buchan Hft*^ i?*!»! W5
On the dark lonely strand ••.•• (•• 182
Oh ! when in days that are yet to rise • • « • 204
Oh! this is no my ain lassie ^*» «• «• '« •• •• 207
Oh! could I bid the days returrf v^''««ta WD gWifn.vf^ •vi SfilS
01! love is just like gaming - «*^ W' awi.'ifco- rf* .liftr 9M
843
Oh ! what ye wha that lo'es me • • • • . . 247
O ! my luve*s like the red, red rose * -'♦iV "V. 271
O! what a charming fellow ». .. 274
y Our thoughts are still at home •• .. .. •i-w* ,, 282
0 ! sweet is the hour •• ..^'.w V»' .. 306
am in hopes to get the better .. ,^,i, ,j,,., ^^ •» i»,.,,,^„, 4^
Sunshine on thy pathway .^...„. ^^ ,^» ^ ,„^ . 858
Some fairy spell around me plays 265
Smile on, for thy young day is dawiiing 277
ISays Plato, why should man be vain . . .. *'\i'^''lk^"'V. 313
Turn, Amui-illis 21
Together let us range the fields 33
The ix>se had been washed •• • 1S8
The banks of the Yarrow * . . . . 144
Though all may forget thee 151
' The lover's lute 158
Take, oh! take, those lips away *- 161
The masquerade »• •• .. .. .. 191
The day returns when first we met • 210
The rose that you gave me •• •• •• 226
The balmy odours of the mom 236
The bark is on the swelling wave 290
The woodman 293
The hardy sailor braves the ocean • . • • 298
The exile's return 303
The voice of love 309
The soldier tired 331
Under the greenwood tree •• •• •• 84
When my soul's delight 19
344
When time was entwining • • • • • • • •
When the dove left the ark t • •
We, who wandering Arabs are •• •• •*
Where's the heart so cold
With thee, fair summer's joy appears •• • •
Waters of Elle • • • •
When forced from dear Hebe to go "V^ ■'"^»
Whilst thou 'rt by my side • • • • • •' '*'i»*
51
134
176
195
198
244
251
321
• •■ • •
Ye woods and ye mountains unknown •• „•,•,,- •* ••
Ye streams, that round my prison creep .jj^;*^^^-*. •• "• 1^3
69
i''
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^ .1. ;j sqil »«<
FINIS.
Ci-.'U
• • - • iiiiiiinuuit ^>iJ i
'fiAii loliius vb^cil •jiiV
j)'jiij -loiJifoa oiil'
Dean U Munday, Printeni,
■nirpa<liieedlc-rtrcet
University of California
SOUTHERN REGIONAL LIBRARY FACILITY
405 Hiigard Avenue, Los Angeles, CA 90024-1388
Return this material to the library
from which It was lK>rrowed.
UC SOUTHERN REGONAI. UBRARY FACIUTY
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